come - one - come - all

Mit Jai Inn
Silverlens, Manila

About

    As a notable expansion of his artistic practice, come - one - come - all is Mit Jai-inn’s latest solo exhibition that aims to present the allure behind three different facets of his 40-years art practice, all of which possess a taste and twist of Modernism. In this show, the artist himself acts as the master of his own language, weaving his very own grammatical principles for paintings. The usage of bold colors which are layered to create a muddy texture, the artist’s signature technique is apparent in both wall-work paintings and series of mixing scale sculptures presented as the main feature of the exhibition. These never-before shown sculptures are arranged in a tangled shape resembling particles, swirling onto itself to form a mobius strip, alongside a large-scale installation of a tunnel created from countless colorful pieces of striped canvas, referred to as 'ribbons' by the artist. The arrangement produces a vibration that resonates within the audience, and envelopes both the viewers and the surrounding space into one. Each of the three collections of oeuvre meaningfully collide into each other, welcoming the sensational field. 

    Mit Jai Inn's (b. 1960, Chiang Mai; lives and works in Chiang Mai, Thailand) paintings come into being in his outdoor Chiang Mai studio, where he gives turns
    to the vibrating spectrum of sun and moonlight, with nocturnal interludes under white fluorescent. His colour-based, densely layered work defies conventional boundaries of painting, while variously enacting its multiple histories and treatments.

    Mit’s practice is, on the one hand, rooted in a rigorous physicality of both manual and optical labour. His studios’ multiple workstations show evidence of crushing and mixing colour of his own making, of plotting, pulling and pushing, overlaying, and scraping pigment. Canvases, often treated on both sides, stretch across floors, drape from tables and hang from metal beams. In place of brushes, mark makers are palette knives, hands, and fingers.

As a notable expansion of his artistic practice, come - one - come - all is Mit Jai-inn’s latest solo exhibition that aims to present the allure behind three different facets of his 40-years art practice, all of which possess a taste and twist of Modernism. In this show, the artist himself acts as the master of his own language, weaving his very own grammatical principles for paintings. The usage of bold colors which are layered to create a muddy texture, the artist’s signature technique is apparent in both wall-work paintings and series of mixing scale sculptures presented as the main feature of the exhibition. These never-before shown sculptures are arranged in a tangled shape resembling particles, swirling onto itself to form a mobius strip, alongside a large-scale installation of a tunnel created from countless colorful pieces of striped canvas, referred to as 'ribbons' by the artist. The arrangement produces a vibration that resonates within the audience, and envelopes both the viewers and the surrounding space into one. Each of the three collections of oeuvre meaningfully collide into each other, welcoming the sensational field. 

Mit Jai Inn's (b. 1960, Chiang Mai; lives and works in Chiang Mai, Thailand) paintings come into being in his outdoor Chiang Mai studio, where he gives turns
to the vibrating spectrum of sun and moonlight, with nocturnal interludes under white fluorescent. His colour-based, densely layered work defies conventional boundaries of painting, while variously enacting its multiple histories and treatments.

Mit’s practice is, on the one hand, rooted in a rigorous physicality of both manual and optical labour. His studios’ multiple workstations show evidence of crushing and mixing colour of his own making, of plotting, pulling and pushing, overlaying, and scraping pigment. Canvases, often treated on both sides, stretch across floors, drape from tables and hang from metal beams. In place of brushes, mark makers are palette knives, hands, and fingers.

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