User:Sumitpitliya

Biography

Sumit Pitliya (°1995, Neemuch, India) makes drawings, paintings, photos and drawings. By questioning the concept of movement, his drawings references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system. His drawings are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By applying a poetic and often metaphorical language, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By manipulating the viewer to create confusion, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By replaying the work for each exhibition and pushing the evocative power of the work a little further, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important. His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. His works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated. His works are a drawn reflection upon the art of drawing itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By exploring the concept of landscape in a nostalgic way, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation. His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By demonstrating the omnipresent lingering of a ‘corporate world’, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them. His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By referencing romanticism, grand-guignolesque black humour and symbolism, he tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting. His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. Sumit Pitliya currently lives and works in Indore.

Basic Info

Location - Main road morwan (M.P.), Neemuch, India 458220 Gender - Male Personal Information - I am a Sketch Artist.....and Animator... Personal Interests - Sketching, wildlife photography,Animation,singing,listen music,thinking, Creat something New, Mechanics, Doing Help,Collecting knowledges, plying piano,playing Flute, editing, swimming and talking with people..All Rounder

Contact Info

Phone 078 79 667111 Email sumitjn49@gmail.com