Thomas Erben is excited to present a group of three artists who play with the poetics of relation, activating the spaces in between text, photography, painting, video, film and experience. Parallels, conundrums and paradoxes are the modus operandi to illuminate the layered processes of making sense. Texts and still or moving images are partially erased, but then reappear in multiples, accretions or other media and slip back and forth between potential readings.
Vijai Patchineelam’s (b. 1983, Rio de Janeiro) photographs and books trap objects, processes and the producer in a perpetual state of transit. Idea and result are conflated into a present continuous, which is both the impetus behind and the product of the work. Arthur, a large scale photograph depicting the artist’s friend, turned away, bent forward besides a similarly figured painting, further confuses these relations: the subject’s body starts to resemble the body of the painting and vice versa creating an oscillating and mutual transformation.
2007 B.A., Industrial Design, School of Fine Arts at the University of Rio de Janeiro. 2008 “Frame Series” Bombay Art Gallery, Mumbai; “Zoation Painting” National Museum of Arts, La Paz, Bolivia; “1st Collective” Bienal EBA/UFRJ, Rio de Janeiro; Resident Artist, Blanton Museum of Arts, Austin TX; 2007 IV International Biennial of Bolivia, La Paz, where he was awarded the Premio Unión Latina.
Blue Book, Moon Rock by Sreshta Rit Premnath (b. 1979, Bangalore) consists of four parts: a photograph, a chalkboard, a screenprint and the light directed from a reeling projector onto silver sprayed acetate. The repeated image of a moon rock is recontextualized by these shifting media. Man’s romantic emotional attachment drew him to the moon only to bring home physical evidence completely devoid of the original impulse. Premnath is exactly interested in this gap where the parts point in the same direction but hardly reconcile. Juxtaposed with one image of the rock, Wittgenstein’s quote from his Blue Book, “We ought to talk further on about the meaning of ‘forgetting the meaning of a word’” — a promise made in the past to discuss the meaning of forgetting in the future — further enriches Premnath’s elliptical approach.
2008 Whitney Museum of Art Independent Study Program; 2006 MFA, Bard College; 2003 BFA, The Cleveland Institute of Art; 2002 Fellow, Yale-Norfolk Painting Residency, Yale University; 2002 Undergraduate Exchange Program, Edinburgh College of Art. 2008 “Mornings in Mexico” book project, Guangzhou Biennial, China; “Current” Gallery SKE, Bangalore; “The Audacity of Desperation” PS122, New York; 2007 “Between To and From” New Jersey Center for Visual Arts; 2006 “Yamini Nayar and Sreshta Premnath,” BosePacia Gallery, New York.
“Her images are transgressive, sexually fraught, with feminist leanings and psychological twists.They are improvised, spontaneous and indebted to … graffiti and pop. The boldness of her color scheme and her rhythmic deployment of paint [brushed] onto the canvas with great gusto is utterly compelling, as are her idiosyncratic figurations. The scale is encompassing and effective in creating a supercharged environment of suspended belief, as you enter her highly imaginative, uninhibited domain with its doubled impact of high feeling and weighty materiality.”
Jaret Vadera (b. 1976, Toronto) presents a fragmented, mixed media “decollage” of an image from a tiger hunt. Simultaneously layering and ripping through multiple levels of paint and paper, the artist adorned and destroyed the symbol of the dead tiger, reflecting the tension between the exotic and the real, fact and fiction. Similarly, Vadera’s video mutates found footage — omitting, fragmenting and filtering data — revealing the space of transformation between reality, mediation and the cognitive system.