As part of the two-artist exhibit with Irene Ire, "Monument to the Pathetic Sublime"
In this exhibit, Ocampo attempts to bring the dark humor and critical eye of Goya back into our contemporary consciousness through the use and appropriation of his critical imagery from his print portfolio Los Caprichos (1797-1798).
Manuel Ocampo's take on Los Caprichos is ironic (or perhaps lost in translation) while simultaneously commenting on the problematics of the effectiveness of critique within an art historical context. The imagery from Los Caprichos is utilized as background and then mixed with other characters from art history: Malevich's utopian constructivism to hand-made Pop Art via Looney Tunes. Both Pop and Constructivism may have some relations to Goya, but the connection leads us to a circuitous road full of detours and day long traffic jams, just like in Metro Manila.
Image rights: Manuel Ocampo / Coagula Curatorial
Coagula Curatorial, "Monument to the Pathetic Sublime", 4/8/17 - 5/21/17
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