Upcoming Exhibition

Korean

ABOUT THE ARTIST

Dominic Mangila

(b. 1978- Philippines)

Dominic Mangila (b. 1978, Philippines) explores the cross-fertilization of abstraction in disparate forms in painting, installation and video. To prod painting¡¯s other unknown sphere, he explores the reconsideration of the brushstroke as a performative signature of the mind¡¯s interiority and the individual aesthetic gesture of the body¡¯s phenomenological sensitivity to all that is present in the painting studio.

Mangila lives in New York and Manila. He holds a BFA in studio art degree from the School of the Art Institute of Chicago and an MFA degree in visual arts from Columbia University where he teaches in the visual art department. He has exhibited in various art venues in the US and abroad. He has participated in artist residencies such as Skowhegan, Lower Manhattan Cultural Council, Yaddo, Elizabeth Foundation for the Arts and Seven Below Arts Initiative. He is a recipient of New York Community Trust Art Grant, Lotos Club Foundation Art Award, D' Arcy Trust Fund, Agnes Martin Fellowship and Chicago Community Art Grant. In 2015-2016, he had solo exhibitions at Vargas Museum and Drawing Room in the Philippines.


Manongs of Louisiana, 2025
Oil on canvas, 200 x 150 cm (each)
Commissioning in Process

The exhibition presents recent paintings by Dominic Mangila that reference Filipino migrant workers who came to the United States in the early 20th century - the farm laborers ¡®Manong Generation¡¯ of California¡¯s Pajaro Valley, Hawaii and the shrimp farmers of Louisiana. It also features a six-panel painting which references an archive on International Hotel. The archive is culled from the Watsonville Is In the Hearts (WIITH) - a community engaged research initiative based at the University of Santa Cruz (UCSC).

Dominic Mangila explores the cross-fertilization of abstraction in disparate forms in painting. To prod painting¡¯s other unknown sphere, he explores the reconsideration of the brushstroke as a performative signature of the mind¡¯s interiority and the individual aesthetic gesture of the body¡¯s phenomenological sensitivity to all that is present in the painting studio.