​​​​Dario Mohr ART

I appreciate apophenia (the human tendency to perceive meaningful patterns within random data) and how it can manipulate the viewer. In my early childhood, I intentionally looked at folds in bed sheets or cracks in ceilings to find people or animals in them, seeking meaning out of chaos where there was none. Conversely, I began to draw from synchronicity, or what can be referred to as meaningful coincidences, which has been helping guide my life since my mid-20s. The schizophrenic phenomenon of apophenia and the destiny oriented experiences of divine serendipity can be seen on a continuum, with the former acting like a red herring and the ladder alluding to a higher truth. My spirituality is a major inspiration, represented though signs and symbols, while the trickster archetype, leading one astray, has also informed my work. I provide a lot of room for the viewer to have a subjective experience with the work, or to choose to weed through the composition to ascertain the intended message. I encourage my viewers to get lost in the chaos, or seek the intended meaning behind the works. What the viewer discovers in the work may also shed light on the viewer’s tendencies in perspective beyond the works.  

I employ a graphic art approach, stylistically likened to African and Mezzo American art. A lot of the work I create is intended to have a "fool the eye" effect, with symbols and imagery often hidden within pattern like compositions or abstraction. This composition serves my voice as I interject iconography in a way that rests soundly between the realms of figuration and motif. I often paint these pieces in acrylic or oil, but also manipulate unstretched canvas or hemp into reliefs. My work occasionally incorporates assemblage as well.  

My spirituality draws from Pantheism and Taoism, which are often present in my work, displaying interconnectedness through pattern. Within the composition I often feature symbols and religious icons from around the world to represent spiritual archetypes or energies of the subject. In previous explorations, I have painted numerous series including Orishas, Hindu Deities, Buddhist and Christian Iconography, as well as series of religious symbols, chakras, and other forms from around the world. This affinity for these religious archetypes is based in my search for the convergence or cultural universality of these anthropomorphized supernatural attributes. Conversely, I often include more carnal human vices that can impede on this spirituality. The energies flowing through me tend to dictate which polarity that piece will gravitate toward, if not a mixture of both. I aspire to have the symbols; personified or not; serve as an alchemical transformation for the soul as I create. The act of creating is one of the most spiritual experiences I have, and the chair and easel serve as my seat in front of the alter.


From Fine Artist to Fashion Designer, and Curator

Fine Art

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