Manuel Ocampo: An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination

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
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
The Holocaustic Spackle in the Murals of the Quixotic Inseminators III, 2010
oil on Canvas
64 x 48 in.
Gewürtztraminer
Gewürtztraminer, 2010
Oil on Canvas
36 x 24 in.
Counterwish of the Exotic
Counterwish of the Exotic, 2010
oil on Canvas
51 x 35 in.
The Holocaustic Spackle in the Murals of the Quixotic Inseminators II
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
A Series of Images to Replace Vague and Unsettled Feelings, 2010
Oil on Canvas
78 X 78 IN.
Counterwish of the Exotic
Counterwish of the Exotic, 2010
Oil on Canvas
84 x 60 in.
Elin and the Tiger
Elin and the Tiger, 2010
oil on Canvas
84 x 60 in.
Meatballs with Wings
Meatballs with Wings, 2010
Oil on Canvas
84 x 60 in.
Foot Fetish
Foot Fetish, 2010
Oil on Canvas
72 x 48 in.
A Ghostly Emanation Coming from the End
A Ghostly Emanation Coming from the End, 2010
Oil on Canvas
64 x 48 in.
Devil, Clown, Tooth, Brown Smoke
Devil, Clown, Tooth, Brown Smoke, 2010
oil on Canvas
64 x 48 in.
Sieg Heiligers in the Abendmahl
Sieg Heiligers in the Abendmahl, 2010
Acrylic on Canvas
60 x 36 in.
Design for a Crucifixion (Cross with Water Closet and Shower)
Design for a Crucifixion (Cross with Water Closet and Shower), 2010
Acrylic on Canvas
60 x 36 in.
State of Exception
State of Exception, 2010
Oil on Canvas
48 x 48 in.
Partition of the Sensible
Partition of the Sensible, 2010
Oil on Canvas
48 x 48 in.
Untitled (from a series of 16)
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16)
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16)
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Untitled (from a series of 16)
Untitled (from a series of 16), 2010
oil and varnish on paper
24 x 19.5 in.
Idealized Anatomical Model
Idealized Anatomical Model, 2010
Oil on Canvas
60 x 48 in.
Counterwish of the Exotic IX (Pancreas in the Islet of Langerhans)
Counterwish of the Exotic IX (Pancreas in the Islet of Langerhans), 2010
oil on Canvas
64 x 48 in.
Counter Wish of the Exotic
Counter Wish of the Exotic, 2010
Acrylic and Varnish on Canvas
48 x 36 in.

Manuel Ocampo has been a vital presence on the international art scene for over twenty years, and we are very pleased to welcome him back to New York for an exhibition of new works, which marks his 60th solo show and his first in New York in four years.

Born in the Philippines, Ocampo eventually moved to the United States, graduating from college in California, where he remained based for almost ten years. His first solo show, 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 such museum exhibitions as Individual Realities in the California Art Scene at the Sezon Museum of Modern Art, Tokyo (1991); Helter Skelter: L.A. Art in the 1990s at The Museum of Contemporary Art, Los Angeles (1992); 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).

In 1994 he had his first major New York solo show, Stations of the Cross, at Annina Nosei Gallery. He is now the most internationally active contemporary artist from the Philippines. Currently based in Manila, he spends significant time working in the US and Europe, particularly Germany, Luxembourg, and France.

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. For his September – October 2010 exhibition at Tyler Rollins Fine Art, An Arcane Recipe Involving Ingredients Cannibalized from the Reliquaries of Some Profane Illumination, we see 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. The subdued palette of greys, blacks, and whites seen in so many of these works heightens the feeling that we are looking into a nocturnal dream world, one that we can see only obscurely, as if through a veil. It is a world that invites the viewer to enter, but at his own risk, offering no comfort, but perhaps some promise of redemption.

CATALOGUE ESSAY
Please click here to view the exhibition catalogue essay for An Arcane Recipe….

ARTIST STATEMENT
The theme that comes up again and again is of figures that connect to a sort of myth-induced stereotype, rendered iconic but bludgeoned into a farcical conceptual iconoclasm made absurd by its exaggerated impotence as a carrier of meaning or the esthetics of politics. The paintings are a comment on desire, as painting itself is an object accustomed to this wish of being desirous, yet in the series they have a knack of providing some difficulty to the viewer as the conventions of painting are dismantled to the point of ridicule.