Manuel Ocampo, ‘The King and the Corpses’, 2002, Rago
Manuel Ocampo, ‘The King and the Corpses’, 2002, Rago
Manuel Ocampo, ‘The King and the Corpses’, 2002, Rago
Manuel Ocampo, ‘The King and the Corpses’, 2002, Rago

15.625" x 23.25" (sheet, each artist)

Signature: Signed and dated by artists

Private Collection

About Manuel Ocampo

Manuel Ocampo composes his paintings using motifs from popular western iconography, religious symbols, Filipino kitsch, art history, and literature. He believes loaded images to be his tools as an artist—an idea that became manifest in his 2011 exhibition “The Painter’s Equipment.” Ocampo’s provocative works, which are associated with a grunge counter-culture movement, have been decried as controversial, blasphemous, and lewd. He explains: “The strong symbolism in my paintings is presented as empty signs. I want to push the conventions of painting to the point of ridicule…to go beyond thought.” Ocampo’s style is characterized by his use of coarse brushwork and use of vivid colors, in addition to his dark humor and often macabre subject matter. He deeply admires and often quotes Martin Kippenberger.

Filipino, b. 1965, Quezon City, Philippines, based in Quezon City, Philippines

About Enrique Chagoya

Integrating elements of pre-Columbian mythology, Western religious iconography, and American pop culture, Enrique Chagoya’s politically charged paintings and prints are about the changing nature of culture and power relationships between the U.S., Central and South America, and the rest of the world. His work juxtaposes diverse visual references including canonical European painting and sculpture, indigenous Central American codex books, pornography, and currency. Over the past decade, he has largely focused on issues of illegal immigration, racial stereotypes, and xenophobia in the post-9/11 world. One particularly controversial piece of Chagoya’s was a multi-panel lithograph in the 2003 series “The Misadventures of Romantic Cannibals”, intended as a commentary on corruption in the Catholic church. It was widely misinterpreted and decried as a depiction of Jesus performing a sex act, and ultimately destroyed in 2010 by a museum visitor wielding a crowbar.

Mexican-American, b. 1953, Mexico City, Mexico, based in San Francisco, California

About Don Ed Hardy