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Vijai Patchineelam
Niteroi, Brazil
Rio-born artist Vijai Patchineelam does not rely on inspiration. Consistency is more important to him. Work, he claims, happens automatically. Born to an Indian father and a Brazilian mother, Patchineelam's work displays none of the colour of those two lands; a dull monochrome effect is what strikes you most. He argues that one should not paint in colour as every colour brings its own flavour to a painting, and creates a digression from the actual work.
"When I work in the studio, I try to get some kind of activity going. It doesn't have to be anything special. It could start as a prank. The important thing is to gain some kind of momentum and then work tends to take care of itself. There's no need to sit and wait for inspiration," he says. (From “Monotone Vitality,” by Shweta Sharma in The Sunday Guardian, Delhi, Jan. 16, 2011.)
Patchineelam completed a Bachelor's degree in Industrial Design from the School of Fine Arts at the Federal University of Rio de Janeiro, Brazil and is currently pursuing Masters of Fine Arts in Experience Design Konstfack University of Arts, Crafts and Design, Stockholm, Sweden.

Paintings Guillotine Series

Guillotine, is a series of large format monochrome oils, black, white or gray, on paper. This series began in early 2008 while at residency in Kochi, India; at that time they were an effort into going back to painting. I decided then, that I would try not to force my desires into the painting and instead letting the random events or mistakes take lead.

“In his most recent paintings, Patchineelam maintains this attention to the presence of the studio within the work. He appears more interested in what happens to the paper as he moves around within the studio than he is with the stroke of his brush. He loves the effect of dog-eared corners punctured by nail after nail as he moves a painting around the walls of his studio, of a fold or a tear created by accident or of the smudges of his own fingers and feet around the edges of a page. This may be why Patchineelam leaves his paintings lying helter-skelter over the floor and hanging two or three to a nail on the wall: he’s waiting for the studio to rub off on them.”

Claire Rudd

At present these paintings have taken a new meaning although how I go about painting remains similar, they are more about repetition and the subtleties of the activity and how routine goes about changing things slowly without one having to force his own necessities into to it. This repetition develops and sediments depth with every incorporated event; be it intentional, half hearted or a mistake.


In Studio Photography

Photography used as means of documenting site-specific work that happens inside the  studio. Because of the transitory nature of most of these works, photography is used to depict it and to exhibit inside a gallery. These attempts to organize objects are a failed attempt, which tries to achieve some kind of control over what surrounds me. Because I see them as failed attempts it is not of my interest to simulate or transcribe them into a gallery, the perfect and immaculate white walls would only aggravate their failures. This because these works sustain themselves in the walls of the studio, they are meant to be there and cannot be separated.

Vijai Patchineelam
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