With Mischa’s works, the state of tension is generated by the contrast between the sculptural surface and the engulfing dribbles and splatters of pigment which must find and wend their way across the surface, which, however, is in relief, meaning, protruded into the third dimension. For all the works, the dominant pigment is black, but each work is individually distinguished by a specific color, such as red, blue, green, orange, yellow, brown, and purple. It is the particular hue that tames the turbulence of the surface, imposing its own characteristic emotional tone with their chromatic equivalence.
One hastens to add here that the paint Mischa uses is neither oils nor acrylic, but rather fiberglass, with their fine filaments of glass fibers embedded in a resin matrix, which accounts for the painting’s lacey plastic sheen. Each of Mischa’s artworks can be regarded by a viewer as his own emotional serendipitous find. Painting, after all, is a subjective experience, and no two viewers will have the same feelings for the same work, whether it’s “Arcadia,” “Shangri-La,” or “Wild Blue Yonder.” Indeed, Mischa proffers enough leeway for varying interpretations of his works. It should be recalled that, prior to its hardening, resin, whence these works came, is a thick, sticky substance, and as such, like Mischa’s works, is a material to which meanings and significations easily attach. Among the emerging artists nurtured in Batangas, centered in the art gallery situated in the Orlinas’ ancestral home in Taal, Misha extends his gratitude to the country’s premier glass sculptor Ramon Orlina, who has deemed that the time is right for a solo show at the museum. Misha, after all, is Mr. Orlina’s serendipitous “find.” Misha’s “Resindipity” runs until November 13 at the Reflections Gallery of Museo Orlina. |