Manuel Ocampo

las plagas, 2014
silkscreen and oil on canvas
48 x 48 in (122 x 122 cm)
Elegua, 2014
silkscreen and oil on canvas
60 x 48 in (152 x 122 cm)
idisco, 2014
silkscreen and oil on canvas
36 x 84 (91 x 213 cm)
la liberte, 2014
silkscreen and oil on canvas
48 x 48 in (122 x 122 cm)
scheiss, 2014
silkscreen and oil on canvas
72 x 48 in (183 x 122 cm)
Pudendal Gravitas In Abstracta
oil, cigarette butts and collage on canvas, plexiglass and artist’s frame
78 x 57 in. (198 x 147 cm)
Kitsch Effluvium Sui Generis: The Crucifixion, style 1953, 2012
oil on canvas
20 x 16 inches (51 x 4 cm)
Nocturnal Emissions of the Limpid Gaze, 2012
oil on canvas
46 1/2 x 33 inches (118 x 83 cm)
Bureau of Artistic Rehab Logo 2, 2012
oil on canvas
16 x 14 inches (41 x 36 cm)
Untitled (Maybe This Could be the Title: The Secret Life of Hannah Wilke Circa 1985), 2012
oil, paint peelings and collage on canvas
74 x 78 in. (188 x 199 cm)
Untitled (Maybe This Could be the Title: Vienna Sausage), 2012
oil on canvas
74 x 78 in. (188 x 199 cm)
Untitled (Maybe This Could be the Title: Henry Taylor’s Version of Bohemian Rhapsody), 2012
oil and collage on canvas
74 x 78 in. (188 x 199 cm)
Pollockian Excess In Extremis: Permission to Appear, 2012
oil, crumpled tissue and collage on canvas, plexiglass and artist’s frame
70 x 50 in. (178 x 127 cm)
Little Brown Fracking Machine (Interior View), 2012
oil, gel medium,screws and collage on canvas, plexiglass and artist’s frame
61 x 61 in. (155 x 155 cm)
Jayson’s Tatoo: Notes from the Contern Asylum (appropriated from a painting by Francis Krippendorf, circa 1965), 2012
acrylic on canvas
48 x 36 in. (122 x 91 cm)
View of MANUEL OCAMPO: THE VIEW THROUGH THE BULL OF A MANUAL LABORER OF MENAGERIE GUSSIED OVER WHITE GROUND: 20 YEARS OF SELF-LOATHING AND INTESTINAL MISHAPS at Tyler Rollins Fine Art, November 8 - December 22, 2012
View of MANUEL OCAMPO: THE VIEW THROUGH THE BULL OF A MANUAL LABORER OF MENAGERIE GUSSIED OVER WHITE GROUND: 20 YEARS OF SELF-LOATHING AND INTESTINAL MISHAPS at Tyler Rollins Fine Art, November 8 - December 22, 2012
view of MANUEL OCAMPO: THE VIEW THROUGH THE BULL OF A MANUAL LABORER OF MENAGERIE GUSSIED OVER WHITE GROUND: 20 YEARS OF SELF-LOATHING AND INTESTINAL MISHAPS at Tyler Rollins Fine Art, November 8 - December 22, 2012
view of the installation at tyler rollins fine art
view of the installation at tyler rollins fine art
view of the installation at tyler rollins fine art
View of MANUEL OCAMPO: THE VIEW THROUGH THE BULL OF A MANUAL LABORER OF MENAGERIE GUSSIED OVER WHITE GROUND: 20 YEARS OF SELF-LOATHING AND INTESTINAL MISHAPS at Tyler Rollins Fine Art, November 8 - December 22, 2012
view of the installation at Tyler Rollins Fine Art
Installation View of AN ARCANE RECIPE INVOLVING INGREDIENTS CANNIBALIZED FROM THE RELIQUARIES OF SOME PROFANE ILLUMINATION at Tyler Rollins Fine Art, September 16 - October 30, 2010
Installation View of AN ARCANE RECIPE INVOLVING INGREDIENTS CANNIBALIZED FROM THE RELIQUARIES OF SOME PROFANE ILLUMINATION at Tyler Rollins Fine Art, September 16 - October 30, 2010
Installation View of AN ARCANE RECIPE INVOLVING INGREDIENTS CANNIBALIZED FROM THE RELIQUARIES OF SOME PROFANE ILLUMINATION at Tyler Rollins Fine Art, September 16 - October 30, 2010
The Holocaustic Spackle in the Murals of the Quixotic Inseminators III, 2010
oil on Canvas
64 x 48 in.
Gewürtztraminer, 2010
Oil on Canvas
36 x 24 in.
Counterwish of the Exotic, 2010
oil on Canvas
51 x 35 in.
The Holocaustic Spackle in the Murals of the Quixotic Inseminators II, 2010
oil on Canvas
80 x 75 in.
A Series of Images to Replace Vague and Unsettled Feelings, 2010
Oil on Canvas
78 X 78 IN.
Counterwish of the Exotic, 2010
Oil on Canvas
84 x 60 in.
Elin and the Tiger, 2010
oil on Canvas
84 x 60 in.
Meatballs with Wings, 2010
Oil on Canvas
84 x 60 in.
Foot Fetish, 2010
Oil on Canvas
72 x 48 in.
A Ghostly Emanation Coming from the End, 2010
Oil on Canvas
64 x 48 in.
Devil, Clown, Tooth, Brown Smoke, 2010
oil on Canvas
64 x 48 in.
Sieg Heiligers in the Abendmahl, 2010
Acrylic on Canvas
60 x 36 in.
Design for a Crucifixion (Cross with Water Closet and Shower), 2010
Acrylic on Canvas
60 x 36 in.
State of Exception, 2010
Oil on Canvas
48 x 48 in.
Partition of the Sensible, 2010
Oil on Canvas
48 x 48 in.
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Idealized Anatomical Model, 2010
Oil on Canvas
60 x 48 in.
Counterwish of the Exotic IX (Pancreas in the Islet of Langerhans), 2010
oil on Canvas
64 x 48 in.
Counter Wish of the Exotic, 2010
Acrylic and Varnish on Canvas
48 x 36 in.
A Defeatest Movement to the Grand Narratives in the Theatrical Arena of Modernist Object-Makers, 2006
Oil on canvas
96 x 132 in (244 x 335 cm)
Down with Reality, 2005
Oil on canvas
48 x 36 in. (122 x 91 cm)
Kitsch Recovery Effort: Frontal Depiction of Taste Inanities in the Figurative Bait of Meaning Reduced to an Analog for a Sign of Reality, 2000
Oil on canvas
48 x 96 in (122 x 244 cm)
Crippled by the Multiple Sins of Regression, 2002
Acrylic on canvas
60 x 48 in (152 x 122 cm)
A Object Conscious of Itself, 2002
Acrylic on linen
60 x 48 in (152 x 122 cm)
Tú También Estarás de Moda, 2002
Oil on canvas
60 x 48 in (152 x 122 cm)
The Compensatory Motif in the Libidinal Economy of a Painter's Bad Inconscience, 2001
Oil on canvas
84 x 60 in. (213 x 152 cm)
Lyric Poetry After...Ahem...Spasmodic Bitch Concatenator, 2000
Oil on canvas
66 x 76 in (168 x 190 cm)
The Holocaustic Spackle in the Murals of the Quixotic Inseminators, 2000
Oil on linen
78 x 94 in (197 x 237.5 cm)
An Object at the Limits of Language - Necromantic Kippan Emancipator: No. 2, 2000
oil on linen, 48 x 96 in., collection of the Asian Art Museum, San Francisco
Gift of Malou Babilonia, 2007.78. Image courtesy of the Asian Art Museum, San Francisco
Artist Examining Life Closely, 1998
Acrylic on linen
61.5 x 48 in (156 x 122 cm)
Deus Ex Machina (Abstract Painting), 1996
Oil on canvas
48 x 48 in (122 x 122 cm)
Virgin Destroyer, 1995
Acrylic and collage on canvas
60 x 40 in (152 x 102 cm)
From a Children's Picture Book, 1995
Oil on canvas
60 x 48 in (152 x 122 cm)
Ubermensh, 1992
Oil on linen
72 x 60 in (183 x 152 cm)
El Disierto, 1991
Oil on canvas
70 x 47 in (178 x 119 cm)
El Demonyo Vive en Mi Culo Cagando de Cristo II (The Devil lives in my asshole crapping Christs), 1998
oil on linen, 77 x 87 in., collection of the Asian Art Museum, San Francisco
Gift of Malou Babilonia, 2007.79. Image courtesy of the Asian Art Museum, San Francisco
"Helter Skelter: L.A. Art in the 1990s," The Museum of Contemporary Art, Los Angeles, 1992
View of Ocampo's works in the exhibition

Manuel Ocampo has been a vital presence on the international art scene for over twenty years. Currently based in Manila, he spends significant time working in the US and Europe, particularly Germany, Luxembourg, and France. Ocampo’s work was recently included in the exhibition, Possession III, at the Lancaster Gallery at Coventry University, Coventry, UK (March 31 – April 14, 2014). In 2013, his work was featured in a solo exhibition at the Carré Sainte Anne, Montpelier, France. He was a featured artist in the Asia-Pacific Triennial, Brisbane, Australia (2012 – 2013), and Tyler Rollins Fine Art presented his second solo exhibition with the gallery in 2012. At the same time, a group exhibition of artists from Manila curated by Ocampo, titled Bastards of Misrepresentation, was on view at several venues in New York City, including the Queens Museum. In 2011, Ocampo was a featured artist in Dublin Contemporary and had solo shows in Melbourne, Australia; Vigo, Spain; Copenhagen, Denmark; and Graz, Austria.

His first solo exhibition, which took place in Los Angeles in 1988, set the stage for a rapid rise to international prominence. By the early 1990s, his reputation was firmly established, with inclusion in two of the most important European art events, Documenta IX (1992) and the Venice Biennale (1993). 
Also in the early 1990s, he participated in the seminal exhibition, Helter Skelter: L.A. Art in the 1990s at The Museum of Contemporary Art, Los Angeles (1992), as well as Individual Realities in the California Art Scene at the Sezon Museum of Modern Art, Tokyo (1991), and Jean-Michel Basquiat & Manuel Ocampo at the Henry Art Gallery, Seattle (1994). He has subsequently participated in numerous museum exhibitions and biennials around the world, including the biennials of Gwangju (1997), Lyon (2000), Berlin (2001), Venice (2001) and Seville (2004).

Ocampo is known for fearlessly tackling the taboos and cherished icons of society and of the art world itself. During the 1990s, he was noted for his bold use of a highly charged iconography that combined Catholic imagery with motifs associated with racial and political oppression, creating works that make powerful, often conflicted, statements about the vicissitudes of personal and group identities. His works illustrate, often quite graphically, the psychic wounds that cut deep into the body of contemporary society. They translate the visceral force of Spanish Catholic art, with its bleeding Christs and tortured saints, into our postmodern, more secular era of doubt, uncertainty, and instability.

Of late, his works have featured more mysterious yet emotionally charged motifs that evoke an inner world of haunting visions and nightmares. His 2010 exhibition at Tyler Rollins Fine Art, An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination, saw Ocampo looking back to his earlier fascination with religious symbols, which now reappear alongside some of his more personal, idiosyncratic motifs, such as teeth, bones, and fetuses.