![Dino Felipe at [NAME] Publications](https://i2.wp.com/www.artforum.com/uploads/upload.002/id24702/featured00_landscape.jpg?w=1170&resize=1170&ssl=1 "Dino Felipe at [NAME] Publications")
In his 1977 Xmas Lectures at London’s Royal Establishment, Carl Sagan described the possibility of conversation with extraterrestrials, declaring, “One issue you’d have to do very first is to be guaranteed you can comprehend the information.” Dino Felipe, an legendary, prolific Miami musician and artist who, above the earlier twenty many years, has produced hundreds of artworks and recorded a lot more than one hundred albums—nearly all of which he created in his bedroom—has described his output as the product or service of channeling: That is, he is the recipient of exclusive transmissions from numerous corners of the aspiration globe and sundry celestial beings.
The title of Felipe’s exhibition right here, “Wigs on Trees,” is borrowed from a photograph in the clearly show that includes the titular hairpieces dangling from assorted floras in Atlanta. This mesmerizing, long overdue retrospective is a voyage by the subconscious designed utterly and gloriously mindful. A standout acrylic painting, Boy in a Backyard, 2022, illustrates the pleasures of the purely natural landscape, amplified by the creativity: The matter, rendered as a beatifically elephantine determine, is surrounded by swirling butterflies, curlicues, and vines. Seem Item, 2015, is a handmade instrument comprising, among the other products, a wind chime, staples, and a plaster spreader, which he used for the building of his 2015 album Symphonica Sufrida. Sketches from desire journals expose the artist’s oneiric ordeals as a sentient equation, a living hyperlink, and an ant-dimension creature. (“We are all loved—so we must love ourselves,” he writes in an interpretive observe.)
Felipe leaves no floor untouched. Meta Language, 2022, a hypnotic acrylic-and-ink drawing of sigils in inexperienced, pink, and black, archives a desire language the symbols reappear along the gallery’s doorways and baseboards and functionality as a form of religious security. In addition to the mostly two-dimensional will work, Felipe and his mother have painted the containers of a number of modest crops, meant to be cared for throughout the show’s period. The artist’s internal entire world are not able to be restrained: It is alive, joyous, and rife with compassion.
— Monica Uszerowicz
