Deja Vu

Featuring D. Dominick Lombardi

On exhibit February 26 - March 31, 2021


Live In-Person OPENING EVENT Saturday, March 19th 5:00-7:00 PM

Lombardi_CCWS-99_acrylic, ink, charcoal, paper, canvas_24 x 36 inches_3,800_24 x 36 inches

Coastal Contemporary Gallery is happy to present Déjà Vu, a solo exhibition of the work of D. Dominick Lombardi that explores the various facets of the collective unconscious, and how that can guide or prompt line, color, form and composition.

In speaking of his art, Lombardi states: “My current Cross Contamination series is very much about lowbrow culture, specifically the sticker craze most common to our inner cities. In the past, I have focused on the ubiquitous emergence of the tattoo, graffiti art, and other cultural phenomena, however the sticker craze more directly allows me to draw from the collective unconscious. As life, living peacefully and safely gets more complicated and elusive throughout the world, my methods of free minded fluid drawing has become an even more valued approach – especially in this time of COVID – as it has become my basic escape mechanism that keeps me centered, sane, and dare I say, happy. ”



The Cross Contamination+Sticker series has its roots in 1998, with the creation of Whistling Bird, a sculpture that looked at how transgenic food companies combined animal DNA with plant DNA to make our supermarket fruits and vegetables more resistant to pests and rot. In my version, I am mixing a songbird with laundry detergent to show the absurdity of the science in not so practical terms. I felt then, as I do now, that this is a very dangerous practice mixing DNA in unnatural ways, as we do not totally know, or understand the future consequences to our soil, our food or our bodies. Whistling Bird was one unique work, and as the series stalled so did my inspiration. Soon, my thoughts would move to a distant time and to another series, the Post Apocalyptic Tattoo, which focused more keenly on how the aforementioned transgenic practices, the use of hot metals and my growing concerns with the environment in general would affect our physical presence in unforeseen ways, hence, the Cross Contamination series was put on hold until 2017.


About some of Dominick's process:

First, the unprimed cotton canvas is stretched onto stretcher bars. Then, a series of layers of thinned-out acrylic paints are applied to create an abstract, color backdrop. When thoroughly dry, two coats of clear matte acrylic is applied to stabilize the surface (image top left).


A day or two later, all of the pre-existing drawings, which includes 1, 2, 5 and 10 minute life drawings and studies for paintings and sculptures, are selected and prepared for transfer, and adhered to the painted surface with a copious amount of clear acrylic. This part of the process is difficult because the larger life drawings are done with charcoal or pastel, and the acrylic medium can only be added to the canvas and not the drawings since it would smear the media (image top right).


 Using a Scotch-Bright and small amounts of water, I very slowly and cautiously remove most of the paper from the back of the face-mounted drawings leaving the charcoal, pastel and ink image embedded in the acrylic medium (figure bottom left).


Once most of the paper is removed, I again coat the surface with two more layers of clear acrylic matte medium to stabilize the drawing media. Once that is dry, I attach the hand-drawn stickers with more acrylic medium. When I feel the total composition is resolved, I add two more coats of medium and two coats of UV protection to further stabilize the work (figure bottom right).  ~DDL