The mandala has long been used in meditation for its symmetry and structure. It focuses the gaze, calms the mind, and organizes thought. For Karina Herrera-Orozco, these contemplative designs became the foundation of her painting practice during a time of caregiving and transition.
She opened her first solo exhibition, Colors of Life, last June 28 at Gateway Gallery in Quezon City, with Supreme Court Associate Justice Henri Jean Paul Inting leading the ribbon-cutting. The show featured circular works painted on wood panels, rendered in acrylic using dotting tools and fine brushes. Each piece followed a measured progression from a single center point outward.
Karina began painting at a young age, often drawing flowers, still lifes, and landscapes. Although she nurtured her interest in art, she took a different path: earning degrees in agriculture and management from the University of the Philippines, and later working in the corporate sector. Painting remained a personal pursuit.
That changed when a friend commissioned her to paint his motorcycle during the pandemic. The project reconnected her with the discipline of painting. She returned home to care for her aging mother. During that period, she resumed painting and began exploring mandalas, drawn to their unique structure and intricate process.
She paints freehand on round wood panels, without stencils or templates. Some works incorporate mirrors or rhinestones, though most rely on precisely layered paint and consistent spacing. Each piece is built through repetition, radiating outward from the center in gradual stages.
The resulting patterns recall traditional local textiles: embroidered linens, crocheted table mantles, and lace doilies. The reference is not decorative but procedural, reflecting a shared attention to rhythm, symmetry, and craft. She also draws inspiration from Mediterranean tilework designs.
Last March, Karina participated in Five States of Being, a group exhibition at Corso Como 88. Colors of Life builds on that presentation, showcasing a broader and more varied body of work. Some pieces are densely composed, others more restrained, but all reflect a steady and consistent method.
She now works full-time as an artist, managing her studio and accepting commissions. Some clients request specific elements or color palettes; others give her full creative direction. In all cases, the process remains the same. Each painting begins at a center point and unfolds in deliberate progression.
Her mandalas do not rely on narrative or symbolism. They are created through discipline and repetition. Their meaning lies in their making.
