dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Thursday, December 21, 2017

Iñigo Manglano-Ovalle "The Garden of Delights" @ Christopher Grimes

Iñigo Manglano-Ovalle, Christopher Grimes Gallery

Byron, Lisa, and Emmitt (from The Garden of Delights), 1998/2016
archival pigment prints
triptych: 61 x 24 x 1-3/4 inches, each panel (framed), 155 x 61 x 4.5 cm; overall: 61 x 76 x 1-3/4 inches, 155 x 193 x 4.5 cm, 
edition of 3 with 2 AP

Infrared reference. Color inversions. Color-rendering with digital technology is always precarious in terms of perception and accuracy/authenticity. Given that these colors seem arbitrarily assigned to the process, it may not matter what result. Then again, it’s hard to imagine otherwise, a lack of intent that is. And if these works lack concern for color authenticity why go to such lengths to assign them? Meaning, if these works are more about the ideas, they could easily exist in grayscale or any color combination whatsoever. So, what do these triad of colors do in each triptych?


Iñigo Manglano-Ovalle, Christopher Grimes Gallery



Iñigo Manglano-Ovalle, Christopher Grimes Gallery

Lu, Jack and Carrie (from The Garden of Delights), 1998/2017
archival pigment prints
triptych: 60-1/2 x 23-1/2 x 1-3/4 inches, each panel (framed), 153.7 x 59.7 x 4.5 cm; overall: 60-1/2 x 74-1/2 x 1-3/4 inches, 153.7 x 189.2 x 4.5 cm, 
edition of 3, with 2 AP


Iñigo Manglano-Ovalle, Christopher Grimes Gallery

Jin, Calvin and Lisa (from The Garden of Delights), 1998/2017
archival pigment prints
triptych: 60-1/2 x 23-1/2 x 1-3/4 inches, each panel (framed), 153.7 x 59.7 x 4.5 cm; overall: 60-1/2 x 74-1/2 x 1-3/4 inches, 153.7 x 189.2 x 4.5 cm
edition of 3, with 2 AP

Triptych. I think often about DNA fingerprinting from my AP Bio class in high school. That has always stuck with me as a process and a form. So, it is with such enthusiasm that I view these works here, three triptychs, three different color schemes. Each migrated left to right color wise. Transmigration. The triptych is a loaded form art-historically speaking. The trinity. Here, vertical sections overlap in a watery light on water kind of way or possibly even Matrix-type scrolling. Organized like language but left open by lack of any recognizable symbols or other characters. They refer to people by each title, to Hieronymus Bosch, and to a lack of people ultimately. Color codes represent human identity.

Generative works that conceal identity visually yet reduce each being to its genetic code. We are just sequences and connections, configurations by virtue of creation, reproduction, multiplication and division.  Threes and fours abound.

They also somehow recall for me a kind of Mark Bradford. Whereas, Bradford was grinding layers to reveal accumulated history, a palpable material history, these seem to be doing the opposite, the reverse. 


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