“Myths are public dreams; dreams are private myths”
— Joseph Campbell
The use of mythology and iconography has been crucial in shaping our society as we know it. These have allowed us to sculpt images of various gods, form our morals and beliefs, and influence various cultures across time and space. Contemporary artist Jason Montinola is able to utilize the same potency of myths by building his own world of mythology. In his hands he is able to craft colorful and thought-provoking characters that emerge from his paintings and his sculptures.
In Temporal, Montinola introduces us to Parlance—the mute messenger. Montinola’s Parlance is a shapeshifter who conveys various messages to intellectuals, leaders, and influential people in the society. He personifies an amoral persona who comes in seven (7) varying forms and conveys messages through his ability to shapeshift, manifested primarily in his face. In “Parlance 1,” we see an expressionless and younger version of him along with his blank eyes, mohawk haircut, colorless complexion, and high-neck clothing. Opposite him is “Parlance 2,” whoexhibits an aged facial feature that comes with a more composed and resolved expression. His gray mohawk hair is paired with a grayed, buttoned costume, along with sucker-like holes that appear on his cheek and neck. Palance's complex characteristics envelop every depiction of him in a shroud of enigma, and his messages are to be received with caution.
A perfect blend of 16th-century iconography and contemporary take is exquisitely displayed in “Beauty for Ashes.” In it, we see three Latin texts that clue the viewers in on what the entirety may symbolize—"Redundo," "Temporal," and "Lacuna." Lacuna, which means a pit or cavity, directs us to this central figure in the middle who has a hollowed torso and pierced limbs being filled with multiple faces of beings that seem to coexist within her. The surreal depiction gives a sense that psychological and physical disintegration is taking place. On her right hand, we see a heart with fire on top symbolizing a certain renewal and salvation. Her pose, reminiscent of a biblical Eve handing a fruit to Adam, with a new heart in her hand, ties in with our text, Redundo, which may be interpreted as undoing, completing something, or even perfection. Montinola’s use of the word “temporal” can be interpreted in two ways: the first pertains to the worldly things that corrupt the body, and the second is as an anatomical reference to the temple or temporal region of the brain, the part of the body that needs to be protected and shielded from harm. These three words create a narrative of getting rid of the worldly cavities within and filling them with renewal and redemption.
Jason Montinola’s Beauty for Ashes is a nod to a passage in Ephesians 6:10-20, when Apostle Paul speaks about the Armor of God to the Ephesians. He recognizes the physical and spiritual siege within the self and exclaims to put on the armor, the belt of truth, the breastplate of righteousness, the shield of faith, and the helmet of salvation. Montinola’s work is not just a mere metaphorical illustration but a call to action—to reclaim a corrupted self, to restore it, and to make it whole again.
