Artist Manuel Miranda's masterful metaphors

Manuel Miranda’s latest works remain true to his aesthetic philosophy, but this time without the color. Metaforos, Miranda’s solo exhibition, is currently on display at ManicHaus. 

The show is comprised of acrylic paintings and drawings. Achromatic visions of human behavior are alive on every wall. Miranda’s use of line is fluid, intuitive, and dominant. His work gives the feeling of automatic events, in which his subconscious has total control over the situation.

There are three key aspects to understanding Miranda’s works: 1) a keen observation of human behavior, 2) the rejection of literal associations with reality, and 3) line as the constant visual element across all works.

Miranda has deliberately rejected literal associations with reality by turning to a metaphorical world in which fictitious characters express aspects of the human condition. “A metaphor is constructed,” explained Miranda, “when the viewer discovers that psychological characteristics from my characters are relevant in reality.”

The artist unconsciously records visual information that later serves him in his paintings. Rather than conscious memory, his compositions are designed through a stream of consciousness approach; the nature of the composition develops after the first line. He says that this allows him to freely interpret what he has absorbed about human conduct.

His drawings are a clear example of this approach. With ink, pencil, or charcoal on paper, he has identified a variety of behaviors. A touch of humor is also apparent throughout these small works. “Compañia” expresses a moment in the relationship of two characters. The quirky positions of their arms and legs add a revealing note. Their interaction displays their self-images.

In the painting “Secuencia,” a strange walking fish at the lower right leads us up to a hoofed animal, then a bull, and a male figure. They float in the pictorial space, with no sense of gravitational placement. The shapes are reminiscent of children’s drawings with the emphasis on line and early visual symbols. There is also a suggestion of childlike ambiguity in the determination of the animal being depicted. The animals in the paintings reflect a metaphorical longing.

“Nosotros” demonstrates a more painterly approach. Grey and white brushstrokes literally bind two figures together. A pale yellow background provides a subtle dimensional illusion.

Buton is a fascinating drawing; a figure with a confident smile projects his mental image directly from his forehead. The line definitely has a life of its own.

“Line is a playful and inventive force,” stated Miranda, “I do not work with visual references. To me, technical dexterity in traditional rendering skills does not necessarily reflect creativity. Academic discipline is important, but it is insufficient for me. My path is a constant search of new visual and conceptual approaches to a field that has been thoroughly explored.”

Manuel Miranda is from Mexico City.

Metaforos
What: Solo exhibition by Manuel Miranda
Where: Manichaus,1301-B, N. Main Street.
On display: Through August 21.
Contact: (956) 207-0940 or manichaus@gmail.com

Nancy Moyer, PhD, is the art critic for The Monitor. She may be reached at nmoyer@rgv.rr.com.