Kylie Manning`s work celebrates and embraces a violent sensuosity that is both the nature of painting and of desire.  Her paintings are about being picked up, swept away, and dissolved into a mass of pure sensation.

- Eric Fischl



Alaskan painter Kylie Manning returns to Chiapas to present a selection of new works - the result of the artist's ongoing preoccupation with destroying previous compositions and creating a new found space from the remains.  Aftermath explores the wake of violence in theory and application by reconstructing previous paintings into images dealing with abandoned space.  Through her work she arranges visual information to produce images that reflect (on) the process of their making.  The formalistic aspect of Manning's work is infiltrated with whimsey, allowing a dialogue between the surface relationship and the work's perspective.

- Ruomi Lee Hampel



In her latest series, Manning uses large-scale oil paintings to lift up the rug and peer beneath at the dusty past of the glorified wild frontier.  Nestled between smart painting and gorgeous painting, she playfully reworks the image of the American Cowboy over and over, challenging the cliché with a kind of friendly aggressiveness.  The works are riddled with contrasting qualities, are all at once masculine yet feminine, emotional yet withholding, solemn yet hilarious.  These oppositions create a kind of vibrating tension just beneath the surface of the paint, a life force.

At first glance, there is a quality to the paintings that almost looks like something that's been hunted, a buck turned inside out, organs and sinews freshly exposed to the air.  That's not to say there is a grotesque quality to the paint, rather a glistening rawness that looks at the same time alluring-- practically delicious-- yet taboo somehow.  A native Alaskan, Manning grew up engulfed in vast, wild landscapes with a certain spirit, a shared essence, that binds frontiers intimately with human beings.  It is the kind of sensuousness that illuminates an almost secret agreement between all forms of life.  Manning grew up untamed; open, running through forests and tumbling down gritty mountainsides.  One can almost see her younger self, with knotted hair and skinned knees, triumphantly galloping across a plain of weeds and gravel in her own childhood games of Cowboys and Indians, unaware of their sociopolitical implications and how they would later inspire her.

The subverted American masculinity in Manning's work is not always easy to behold-- while contextually rich, the artist refuses to reveal too much, seems to want to challenge us, play with us, and this is absolutely instrumental to the success of her canvases. A virtuoso with color and texture, she is able to transport us into a warmly sensuous yet brutally erotic memory of a world that once was. The series, aptly titled By the Horns, bucks and sways-- it is alive, inquisitive and strong, a portrait of the artist herself somehow.

- Katie Armstrong



Fisticuffs, uses three segments to mark increments in the development of her painting ‘research’.  She used each segment to give the viewer insight into her own character, personality, and position in painting.  Through the use of chaptered masculine imagery, Manning exposes a rhythm, using form as a shell to direct color and line to the viewer.  The paintings have brilliant academic moments that slow down the viewer giving them informative landing pads, which guide them through patches of un-abashed anti-forms.  The third and final segment, brings the transition full-circle, conceptualizing historical iconography on unbleached linen.

Although painting for so long, there remains something pure and secretive, her paintings reflect what she gains from the world—taking in some sort of essence of what is around us and putting it out there for all to see.  Manning’s gift of painting comes from an innate sense of intuition untouched by the outside world.  Her vision comes through clearly, giving life to vibrating, electrical form.   

- Fridey Mickel



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