Manley’s detachment paintings serve as still lives of his triptych works and other objects existing in the artist’s domestic space. Through these paintings, Manley allows the viewer additional opportunities to understand the entire lifespan of making, completing, and experiencing his triptych works. The colorful dabs of paint formally interrupt these glances back in time and re-center the viewer in the present moment.

Dash was raised by conceptual artists instilled “your art is your argument.” The triptychs serve as vessels for arguments (the artist’s intention) and go one step further to serve as literal backdrops for domestic arguments (which allow opportunities for apologies).

These works move back and forth between establishing shot (the argument) and a close up of an arrangement of flowers (the apology).