Baden Pailthorpe & Ramesh Mario Nithiyendran
21 Oct, 6 –8pm
- When 21 Oct - 11 Dec 2017
799 Elizabeth Street Zetland 2017
TUES TO SAT, 10AM-5PM
(02) 9698 4696
One of Sydney's and Singapore's most dynamic dealer galleries sullivan+strumpf, is currently presenting exhibitions by two high profile and distinctively different UNSW Art & Design affiliated artists, one lecturer Ramesh Mario Nithiyendran and the other PhD graduate Baden Pailthorpe.
Much of Baden Pailthorpe’s work consists of hyper-real animations, video and sculpture that engage with the spatiality of power, politics and the cultures of late-capitalism. At first glance Pailthorpe's Pitch Deck appears to be sci-fi fantasia, however on closer viewing the work gradually reveals itself to be a critique of late-stage capitalism and start-up culture.
Pailthorpe is often described as one of a small group of artists working internationally at the cutting edge of computer generated imagery and video, however unlike many of the best known artists using these technologies (most have built studios that employ groups of designers who have previously worked, and often still do work in digital animation for cinema and gaming) Pailthorpe works alone, and this may explain the idiosyncratic, auteur vision that suffuses his work.
With Pitch Deck, Pailthrope explores the potential application of financial analysis and machine learning in contemporary art. This project combines elements of high quality 3D animation, custom gaming PCs, liquid cooling, roman armour, web scrapers, champagne and startup chic, and is conceived as a pitch to potential investors in a business based on cultural capital.
Presented alongside Pailthrope's project is Ramesh Mario Nithiyendran's exhibition tilted R@MESH which is an extension of his explorations of self-portraiture and the politics of self-representation.
Known for the creation of figures that are at once enticing and disquieting these rough-edged, vibrant, new-age idols are experiments with form and scale in the context of figurative sculpture and explore politics of sex, the monument, gender and organised religion.
R@MESH consists of 10 figurative sculptures made primarily from clay and glaze as well as found objects such as leather collars, random stuff bought on the internet and human hair. In this instance the artist has described his works as 'postmodern, pseudo-religious relics from the past, present and future where elements of East and West, the handmade and the digital, the dirty and refined and the organic and artificial are combined.'
For the central figure in the exhibition, simply titled Creator, Nithiyendran has channelled the classical Western form of a bust. This sanctioned style of portraiture (over 2000 years old) is often used to depict important (mostly white) men. Additionally, the figure is made with references to the Madonna and Child archetype. There is also a nod to the Hindu God Kali as the figure being cradled but it could be read as a victim of this almost anti-deity’s endeavours.
In 2018 Nithiyendran will present a monumental installation at the Dhaka Art Summit in Bangladesh.