Ronald Caringal

Caringal is known for his vibrant artwork that makes reference to the sociocultural environment.  His work often creates a parody or makes satirical comment on certain social phenomenons of the time.  

 In this series, Caringal learns to view faces as landscapes that are made up of volume and lines.  Each component of the face collectively takes shape to express the mind and the feelings.  Faces have a depth far beyond what our eyes can see – a horizon of their own.

 The aftermath of the pandemic makes us realize that the way we see people and faces has changed. The covering of faces signals a subtle warning.  Caringal intends to create an exhibition that interrupts, for himself at least, the gloom and restlessness that surrounds people globally.  He deliberately presents a show that is simple, straightforward, silly, light, and funny as a brief escape and an alternate reality check for the audience.  

 “Making Faces” presents 10 oil paintings on canvas each of which depicts a unique facial gesture that communicates specific emotional meaning.  Caringal says “We endure, we grimace, we pout, we smirk, we laugh, but we face whatever comes. For anything that happens, we make the face that we need to deal with the situation.”

The series is about reconnecting with my inner child. The part that I would never want to outgrow or be without. Images of video game characters and other iconographies that bring me back to my childhood. The images seem to “move” or “vibrate” in the same way the memories reverberate through time. They may not be as sharp in my mind but they will always be familiar. They will always resound and resonate. They will be recognized for the simple joys and moments that they are.

Remembering these moments is like reconnecting with who I was then, recognizing who I am now and realizing who I want to be.

The works are a parody of the marketing idea that “sex sells”.

I have always found that concept weird. At a certain degree the subject of sex is taboo but the idea of it is somewhat being commoditized – very entertaining.

However, it was always something that proved effective. I find it amusing that this simple conditioning is as effective as brainwashing. From billboards, tv ads, comic books, apps, pay-per-click ads, pop-up ads and more. We are in an infinite barrage of several forms of this idea. It is not even just about sex itself that is being sold as sexy. Power, fame, money, image, influence and others fall under the same machinery.

Especially now in the era of “influencers”. Sex is sexy is social is trendy.

To me it is both amusing and funny. Albeit restrictive of our capacity to make our own deductions and decisions.

These works are a continuation of several works I have made in the past. Selling an idea paired with selling a fact – whichever works for the audience. Simultaneously presented for both interpretation and misinterpretation – left to the devices of the viewer.

The works are an homage to the Brillo Box series of works. This was Warhol’s take on art imitating life and his depiction of commercial and consumer life. When it came out, it stirred a lot of controversy for its credibility and authenticity as art. However, time proved that Warhol was just holding a mirror to society. It was more of the gesture than the work itself that holds deeper meaning. This gave new life to the works and made them stand the test of time.

I do not want to question how the current audiences view or classify art. Rather, remind them that there should always be room for those that seek to redefine what art is, what constitutes it and how we see it. I wish to do that by showing that not too long ago, many people doubted the Brillo Box works for what they were.

I wanted to use the same image to show how the world reacted to his vision. Some thought the work was brilliant, some thought it was bullshit. Nevertheless, it did not take away from the fact that it was indeed art. Warhol just saw it ahead than all of us.

This will be an ongoing series that I will expound on and play with so there will be more variations and permutations of the Brilliant/Bullshit series.

In this version, I used the same analogy for how an artist feels within the art market and his pursuit of an art “career”. It is always about survival. A fear and anticipation of whether or not you live to paint another day or you would have to rebuild or be lost in obscurity. Whether it’s a show or an auction, the artist’s future is in the hands of another – a gallery, a curator, an auction house and so on. The artist can only do so much, can only put out his best, but the true battle begins when the work leaves the studio.

Am I good enough? Will this sell? How do I keep my integrity? What will I paint next? What does this mean? Who will like this? These questions and a million others plague the artist with every canvas and that in itself is another war.

This series is based off Roy Lichtenstein’s “Drowning Girl”. In the original, the drowning girl says, “I don’t care! I’d rather sink – than call Brad for help!” Even in the face of danger and doom, the girl chooses to preserve her pride and dignity rather than call for “Brad”. There is a dark humor in that stubbornness. It may seem foolish but at the moment makes sense and becomes a determined decision for the girl.

My version says, “I don’t care! This is not a Lichtenstein –”. The sentiment carries the same sense self-worth (or lack thereof) and foolish pride as the original drowning girl. However, with this work

I also want to show a true sense of determination. I want the viewer to see that the work wants to exist, but exist on its own merit. It would rather die than become a Lichtenstein.

A true artist wants to be himself. Wants to exist as himself and be recognized as himself. He wants his works to carry his name and stand on their own. He wants to be his own brand. He wants to be discovered and be able to carve his own path. He wants his works to sell for themselves and not because of his name. He wants his work to be respected and his name to be remembered. Even if it is not a name in the same light as a Lichtenstein.