Art Verité Gallery

Coming Into Her Own

Inspired by her childhood, Maribel Magpoc in Detachment paints paper dolls set free from their die-cut molds in her solo exhibition of recent works. As she experiments and delves into further exploration into interpreting materiality, she draws deeper into her memories and launches the next phase of her art journey.

Paper dolls are made of paper or thin card, and feature figures wearing paper clothing attached with folding tabs. They began as inexpensive children’s toys roughly two centuries ago and have traditionally served as advertising media and cut-out features in books and magazines. They have remained a popular toy over the years, especially in the Philippines,

where children can buy them cheap from neighborhood corner stores or fashion them out of spare cardboard– used school folders being the most ideal. Furthermore, these have evolved into a recognized modern art genre, inspiring a large number of visual artists.

Magpoc not only draws on nostalgia, but she also finds means to make tangible visual connections despite notions of disengagement: Defacement presents a bevy of paper dolls in a row, saturated print colors peeking through layers of paper treated like trompe-l’œil shrouded not only in mystery but a keen nagging to unveil parts unseen; her Playing Dress-Up Series shares kimono-clad, accessory-laden, and pet-accompanied ladies reminiscent of early Japanese anime characters like Kyoko Mizuki’s Candy Candy; Out of Default Settings show the die-cut paper molds without the dolls, framing layered realities of what remains and contrasting happy colors with the greyness of its other side while sharing elegant gowns and costumes; Extra samples well-loved baubles that may also be treated as the dolls’ companions, never leaving them lonely.

It is indeed fitting for the artist to take on the challenge of depicting humble objects from more innocent times in this epoch of jadedness and anxious uncertainty. Paper, present in our lives from cradle to grave, also signifies unlimited possibilities where we can let our imaginations soar and conjure scenarios that switch on creativity and world-making. What is so special about Magpoc’s elevation of such recognizable objects into art is her innate ability to impart warmth into two-dimensionality, not only triggering blissful thoughts of naiveté and unhurried moments but also helping us appreciate them through the lens of maturity and gratefulness. Her paper dolls are not perfect; raw, gray layers of cardboard are intentionally shown beneath the printed/painted surface, showing fragility and vulnerability yet being true to their source. The artist surprises us with this direction, in a way, gently disentangling from our expectations and setting free her very practice from convention.

Despite their humble origins, paper dolls have transcended their utilitarian roots to become cherished collectibles, their vintage counterparts growing scarcer with time. Now, Magpoc in Detachment continues to breathe new life into this age-old tradition, ensuring its enduring relevance in today’s creative landscape, making audiences aware of how deliberate severing might just lead to more fun and play.

Written by Kaye O’Yek