The socio-political context also permeates works such as The Burning and Rednik esirprus ostensibly taking a turn for humor and pathos. Night Out one of Gomila’s most widely acclaimed videos involves a couple's drunken quarrel. Filmed from high above, what initially appears to be a typical lovers tiff turns through the artists’ gaze into a portrait of doomed social engagement within a culturally and economically faltering framework.
Gomila’s THOU extends the traditional Remembrance day two minutes of silence into a mesmerising and painfully haunting piece of video art; a thought provoking, powerful and reflective piece that questions the notion of whose side God might be on.
In a return to the train as a unique metaphor of filmic time and space, Gomila's LAST TRAIN shifts focus from the urban dynamic to the territory of no-man's-land between the snowy Slovak/Austrian border. Perhaps his most painterly work since SHOP FLOOR with an equally mesmerising abstraction of objects and colour. The space moving in LAST TRAIN is observed but boldly re-conceptualised. The viewer witnesses time captured and stretched in distilled detail. Time passing is held, pulled back, information reversed penetrated and shifting like a visual analogy of theoretical physics en route. The artist presents a journey located between national borders in a deeper landscape of boundary-less senses of the mind, a sculptural journey between the real and the imagined.
A survey of Gomila's work would be incomplete without a look at his seminal public interventions. Here we present THE FALL produced during his artist residency at BALTIC 2000. GUANTANAMERA a collaboration with Alonso Gil for Madrid Abierto 07 and CARGO produced for Almadraba an international site-specific exhibition held on both shores of the Straits of Gibraltar in 1997.
Gomila’s less-known photographic interventions which prefigure current artistic trends for ‘personal histories’ go beyond self-portraiture. In Headline Victim 1996-99 series of digitally manipulated newspaper photographs, Gomila challenges our reading of media imagery through the abstraction of nonidentity. These works have become even more chillingly relevant today as Sontag writes in Regarding the Pain of Others: “Each situation has to be turned into a spectacle to be real - that is, interesting – to us. People themselves aspire to become images: celebrities. Reality has abdicated. There are only representations: media.