“I do think it’s productive to describe an artist’s work by medium at times because it helps provide an access point, but I use materials that I like to use, which I realise isn’t very cerebral. But it’s about the materials that make the most sense to what I’m trying to create or convey,” explains the artist. “I call myself an artist, quite simply; if I just call myself a ceramicist or painter I feel uncomfortable with that.”
The Sri Lankan-born, Australian-raised artist was due to have shown an exhibition, entitled Polymorphous Figures, at the Singapore outpost of his commercial gallery, Sullivan+Strumpf, earlier this year. Then came the pandemic that put a swift end to the transportation of the 25 works from his Sydney studio, the exhibition moving instead to a digital showroom. When we spoke, Nithiyendran was originally due to be in India, where he’s working on an installation for the new Sculpture Park in Jaipur, as part of a blockbuster year that would see him regularly on planes around Asia Pacific, such is his growing reputation as one of the leading artists of his generation.
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