1) Anna Birkenmeier, Zurich, Nov. 2010: New Orleans in the middle of Zurich
New Orleans, August 2005. We all remember pictures of the devastating Hurricane Katrina, which destroyed much of the city. Standing in front of the paintings by New Orleans artist Gerald Domingue, one gets a real feeling of the fury with which the storm must have raged through the city. Domingue has long admired Nature in all its power, explosive energy and passion. This is impressively reflected in his pictures: "With all its moods, Nature also exhibits beauty in a vast variety of forms. Again and again it surprises us, such as it did with this terrible storm." Before devoting himself entirely to painting in 1997, Gerald Domingue, now a resident of Zurich, was a medical scientist for 40 years and was a professor of urology, microbiology and immunology. These years also consistently influenced his artistic creativity: "In biological medicine one constantly finds fascinating pictures that offer an incredible potential for my painting. Here, too, I repeatedly find inspiration." Domingue's paintings reflect a sustained dynamism and movement: a flow of energy that seeks harmony through form and colours. The fact that Domingue's paintings survived Katrina intact is bordering on a miracle. "While many of my friends and relatives left the city, I stayed on with my paintings."
Domingue's works are alive – that is what makes them so unique. Each painting tells a story that primarily alludes to the link between science and painting and highlights Domingue's background as an intellectual artist and poet. His works attest to his talent, artistic skill and a powerful imagination. Most of his abstract works are in oil on masonite.
2) Review in New York Arts magazine and Art Fairs International Newspaper, New York, New York, Jan. 2010
"Though differing vastly in mark, Domingue’s pieces all have a characteristic feeling of a slow growth and gradual manipulation. In his piece, Symbol of Inner Strength, the gracefulness of the steady easing of the bright orange into the black background tames the difference between the two opposites. The two colors at their most saturated moments are quite extreme and it’s remarkable to see such a peaceful transition between the two. The subtle scale changes in the fragmentation are rather slight and very delicate, as well. The differing size, shifting from larger to smaller also gives the piece a sense of perspective and depth. Keeping within a two-color color scheme, the relationship also helps to build a stronger presence of light and perspective. In his piece, Global Warming, the color variations leak in and out of numerous colors instead of just two. The result is a more abstracted form. At first the black area appears as a cut-out obstructing the view of a beautiful, colorful, kaleidoscope. However, in looking more closely the viewer can make out a few ambiguous areas that lie somewhere in between the absolute black and the segregated, opposing vibrancy of the colored area. In both these pieces there is a bleeding haziness that gives the textural feel of a cross between watercolor and an airbrushed feel. This texture along with the unique organic shapes compiling these forms invent some intriguing and delightfully atmospheric abstractions." http://www.nyartsmagazine.com
3) David E. Smith, Artist/Art Historian/Lecturer, Paris, London, New York (former lecturer in American art, Metropolitan Museum of Art, New York; presently a painter and a free lance graphic artist in London for several leading international publications):
"To see the paintings of Gerald Domingue en masse is to submit oneself to a total seduction of the eye. The other-worlds depicted or hinted at in the oils in particular, suggest forms abstracted from nature, both external and internal, forms in a continual state of flux that extend far beyond the confines of the Masonite support on which they are painted. The powerful sense of movement rarely allows the eye to settle, the gaze continuously shifting to all corners of the painting—close inspection of a detail is to be immediately immersed in an alternative universe of whirling matter. It is the viewer’s choice as to whether these works are interpreted worlds in themselves, or as a microcosm of a much larger plan. It is frequently both impossible and unnecessary to distinguish between foreground and background, or even on occasion, which way is up. Domingue, a colourist of the first order, employs the palette knife almost exclusively to achieve his effects, extensively scratching and scraping the paint in a torrent of whiplashes and arabesques. The result is invariably dramatic and hallucinatory; on contemplating these works, it is as if one is engaged in a dream where all is suggested, nothing is quite what it seems and multiple levels of consciousness are possible.”
4) Dimitar Krustev, MFA, Artist/Writer/Lecturer, Bulgaria, Mexico, USA (prominent classical portrait/realist painter):
“Gerald Domingue is one of the most versatile painters I have known. His paintings have a touch of mystery, an essential element in every great work of art. The artist has no conventional or ordinary style; absence of style is his style. A style in the ordinary meaning of the word would stifle the artist, would rob him of the freedom to experiment, to explore, to be creative to the highest capacity of his talent … behold Pablo Picasso. Domingue is in constant search of new ways of self expression. There are seldom two works which resemble one another. He is a totally original artist. He does not imitate, nor does he copy nature; he creates nature. I leaf through the pages of the catalogue (Domingue, abstract expressionist: American painter – colorist, 1997-2000), and it is Midwives … what brooding, marvelous harmony of dark colors with a startling accent of gold! Look at Glacial Fossils with the blue and while “scrawly” as in a mortal battle with each other. But what does it mean? Perhaps nothing; yet it makes one wonder … it makes one feel ill at ease and the mind goes millions of years back in time … the midwives, the glacial fossils … the mystery of life, the mystery of time! Then look at Requiem … a painting with the color of aged wine and the surprising blue verticals.
This painting is a feast to the eye. It is a masterpiece of simplicity with colors of supreme harmony, and again the mystery. It evokes the solemnity of Mozart’s 'Requiem' and the brooding Beethoven 'Fifth Symphony'. The subconscious is in his painting and it works in unison with his consciousness … marvelous use of colors … a talented and eclectic painter. Behold the painting: Vieux Carré – New Orleans … richness of colors in supreme harmony, exquisite relationship of shapes, design, and again the powerful accent of gold as if floating in the infinity of space. This painting moves me so deeply that I have studied it again and again and I never tire … like listening to a Mozart quartet or a Mahler’s symphony. It reminds me of the great Mexican, Tamayo. In Vieux Carré I see all that Gerald Domingue is: his high sensitivity, his capacity for profound thought, his exquisite awareness for color harmonies, and his unparalleled sense of design. If Domingue had painted only this painting, he would have said it all as an abstract expressionist in its noblest form.”
5) Press Release (2004): Agora Gallery, Soho - Chelsea, New York City, New York