one of the contemporary artists for all universes
suresh babu maddilety
Time and matter are the base of my artistic research. I combine science and philosophy into visual manifestations using digital media, text, photography, paint, found images and trivial objects. I am inspired by the strange inherent characteristics of the elements and procedures that constitute the world we occupy and the universe that surrounds us, and their ephemeral qualities.
My conceptual process begins like a scientific or philosophical research for evidence and reason in support of a theory. My main hypothesis is that all procedures and experiences in perception and life are cyclical and connected; thus, through my art, I challenge the ideas of stability and linearity.
I consider the representational imagery in my art to be visual depictions of atoms. My compositions of digital collage, new media, and traditional painting playfully transform the building blocks of matter and the universe –atoms and galaxies, respectively– into recognizable figurative structures, entities, and landscapes. Perceiving all materials as atoms, I simulate how mediums are transformed through natural processes over time.
In my artistic practice, incongruous fragments of objects and images are transfigured and brought together by several procedures expressing cycles of renewal and metamorphosis. This practice is based on theoretical physicist Roger Penrose’s theory of Conformal Cyclic Cosmology. I view my work as an ongoing project, part of a larger task within artistic discourse and practice. Through my art, I aspire to create visual and empirical formulas for present and future artists to utilize and develop. That is why I don’t consider my artworks as endpoints, and I keep questioning the concept of finished work in contemporary art.
I consider my art to be an experiential process akin to scientific and philosophical methods, aiming to create patterns that other artists might be willing to expand upon.
My work is not confined to its visual elements, but it focuses mostly on concept and artistic procedure. I use text alongside my digital media, photographs, and paintings in order to enhance and experiment with aesthetics, and produce a broader understanding of my creative process.
I am interested in working within different movements and genres, aiming to elaborate and expand them or even create new ones. Some of my work has been actualized and can be represented in its current state, while other bodies of work are abstract and exist in a nonmaterial, virtual space. As technology progresses continuously, these latter works will be revisited and developed accordingly.
My current work is comprised of the following series:
- Universe Constructivism
- Organic Photography
- Found the Space for Art
- Creating New Influences
- Social Liquids
- Artifact Materialism
Microscopicism probes the unseen materials and elements in the universe and the world around us. It is currently a text-based series of artworks intending to function as an aspiration and starting point for future artistic interaction with essential materials we cannot see. Scientists deal with these mediums to gain understanding of how our universe, ecosystem, and bodies function. Artists can also utilize these microscopic objects and make visual representations. While scientists must be pragmatic and maintain a more rigid systematic procedure, the artist can employ a more creative and insightful process to examine similar hypotheses.
Microscopicism aims to describe the most minute qualities in the universe in a manner that makes indiscernible processes, like photosynthesis and cell cycles, perceptible. I hope that artists will be able to visualize these phenomena in the future for everyone to see in plain view.
My initial motivation is to figure out how we might conceive a traditional still life study within an actual atom’s microworld, challenging thus the standard connection of reality with tangibility.
In this series of digital media-based artworks, I imagine what it would be like to playfully manipulate our universe’s physical form and structure. To create each composition, I mined images of galaxies taken by NASA’s space telescope. These galaxies were repurposed as “bricks” that I used to build representational forms. The first figure, Universe Constructivism 01, takes the shape of a house. The second, titled Universe Constructivism 02, is an imaginary landscape with mountains, a sun, a body of water, and birds.
In my work the visual representation consistis a kind of model for a future realization. My ideal medium here is galaxies. While these two works are digitally produced, in a distant future, artists may be actually able to construct works of art through actual galaxies as their base for artistic creation, as today is happening with land art. Ultimately, these conceptual works invite us to contemplate ―with admiration but also with awe― the possibilities of scientific and creative exploration and discoveries.
This body of work aims to investigate the representational qualities of an artwork as far as it concerns different mediums and their potentials. It also intends to be playful and critical towards the sense of dimension in some contemporary monumental installations. Even the most enormous contemporary installation would seem like a small object in front of a potential galaxy work.
I created this composition by selecting and arranging a series of photographs from Flickr. However, these images are not the entire artwork. My intention was to generate a personal response from the viewers, who will create their own story based on how these images make them feel.
Each viewer’s unconscious uniquely analyzes these images. These photographs are unsettling and might conjure up specific fears or anxieties. Through this work, I would like to imply that the unconscious mind functions like a camera, which takes a still image of a brief moment in time (like a snapshot) and reflects it to us for contemplation.
My initial inspiration was the very photographic process. The work aims to question photography’s objectivity and to challenge photography-based artworks
4. Found the Space for Art
4. Found the space for art
the drawing inside the rock
This video was created using Blender, a 3D computer graphics software program. It is an animation of a large rock sitting in a minimal abstract environment.
The drawing itself is not significant; I just wanted to fill up space within the rock. Advertising agencies use mockup graphics containing generic images and placeholder typography to create templates for future designs, and my drawing is essentially referring to this process.
The rock, the ground it sits on, and the landscape surrounding it are all placeholders. Through imagination and creativity, someone can construct new forms within these structures. Eventually, nearly anything can be created inside rocks, hills, planets, and the universe at large. I am exploring the exciting but also alarming potential for using the existing physical matter to create new imagery. Future artists might generate artworks utilizing the space inside of mountains, the human body, atoms, or celestial objects.
Street Graffiti art’s background walls motivate me to create a place for artistic experimentation. It questions the surface of pictorial representation and challenges the process of visual representation ideas.
This is a 3D model of a conceptual bio-art satellite. While the artificial satellites in space are made of metal (aluminium and titanium), this satellite is constructed from layers of rendered brains and flesh. The bio-art satellite focuses on the concept of art presentation throughout time and space. It suggests a visualization of works of art realized on Earth and projected throughout the universe.
Additionally, this bio-art satellite aims to locate new artistic ideas within the cosmos and reflect on new potential art forms. These aesthetic forms may imply creativity by intelligent beings from outer space.
I imagine a future where the history of art could become a universal discipline throughout yet unapproachable cosmos. In this vision, artistic influence could arise, not only from our own historical time and space but from within the all-spacetime frame, even from civilizations from other galaxies.
title: Pronouncism 01- 01 medium: video year; 2020
Pronouncism is a multidisciplinary series of artworks utilizing audio, video, and text. I randomly typed letters using the alphabet of Telugu, my native language. The words formed from this amalgamation of letters are meaningless and absurd. When I put my made-up words into the Google translation app, I can listen to how the AI software’s voice pronounces these unique vocabulary objects.
Pronouncism opens unique routes of thought. These abstract words could be manipulated into artworks, evolving to a visual vocabulary produced by the above randomized processes.
Throughout this work, I aim to question the meaning of specific words’ pronunciation and the whole process of visual audio ideas.
7. Social Liquids
title: social liquid 01 medium: video year:2014
title: socail liquid 2 medium: video year:2015
title: social liquid 3 medium: video year: 2015
title: icmfspbpce medium: video year:2016
title: mjphcopcftcb medium;video year:2017
title; 6edsncfetgfsmpmh medium: video year:2019
Social Liquids are inspired by the different qualities and characteristics that materials assume through periodic physical change. Like, for example, when coal becomes a diamond over time. I see all materials equally as atoms, and my works recreate the process of reconfiguring and making new entities the way nature does. In this series of video performances, I create a new element by bringing together familiar objects like municipal water and garden flowers in order to observe the evolution of these items and, eventually create further ephemeral amalgamations that become a part of the creative life cycle.
My main interest in this body of work is the exact procedure by which materials evolve; that is why it consists of carefully recorded video documentation of the process. This work aims to challenge artistic processes that insist on materials’ static qualities and characteristics.
8. Artifact Materialism
Materialism is one of the major philosophical concepts that my work concerns. According to its principles, the matter is the fundamental substance of the universe and defines all forms of creation. These forms are then differentiated with various attributes.
From an aesthetic standpoint, Artifact Materialism is a conceptual visualization of this philosophical theory. Every object tells a story, and my paintings seek to narrate their story from the inside out. I consider each of the objects in my paintings equal to a single atom. A flower is an atom, as is an umbrella. In nature, these items possess many different angles. However, my paintings synthesize the surface area to a single angle or vantage point. Moreover, behind each canvas, a magnet is placed as a metaphor for natural powers. This work aims to question the one-dimensional study of philosophies and common representation, as objects can be seen here from many angles.
Our eyes perform magic for us. When we look at any object in a landscape, perspective renders forms to be smaller in the distance and larger in the foreground. Before conventional perspective (i.e., one- and two-point perspective), artists used a reverse one, in which objects in the front were smaller than those in the back. In this series of paintings, I employ another conceptual perspective that I call Ovalism.
Using Ovalism, I extend and distort the proportion of one angle in relation to the others. For instance, when viewed from a side angle, a wheel becomes circular, and when seen from the front, it turns into an oval. When I apply paint to the surface of the canvas, I freeze the distorted oval and continue to portray it from every angle. In Ovalism, one angle proportions into every other angle. This body of work is influenced by cubism’s practice, questioning thus the visible size and form of objects.
SURESH BABU MADDILETY
Born 1971, Medukurthy, Andhra Pradesh, India.
Lives and works in Hyderabad.
Graduation: 1986-1992; B.F.A J.N.T.U. College of fine arts, Hyderabad.
Post-Graduation: 1996-1998; M.F.A University of Hyderabad.
Special prize winner, Mellow Art Award 2021
For video work in IAR International Artist Residency 2020- Napoli (Italy).
For installation work in YICCA Art contest 2017/2018 – Milan (Italy).
1st 2018 Art Slant Prize juried winner, USA.
For installation work in YICCA Art contest 2017- Rome (Italy).
For installation work in Art Laguna Prize 2015- Venice (Italy).
For installation work in Premio Combat Prize2015- Livorno (Italy).
SELECTED FOR ART FESTIVALS:
The Ars Electronica Festival 2021, Austria.
Festival DeSidera, Italy.
Modigliani Opera Vision, Italy.
ARTISTS SELECTION FIRST PHASE:
Air Land 3.0 INSIDE LAND organized by the Quasi Quadro association, 2020, Turin (Italy).
47th All India Art exhibition by the Hyderabad art society, 1988.
ONE MAN SHOW:
On 13th Sep 1998, at C.I.E.F.L, Hyderabad.
ICAC art gallery group show, 2022, Ahmedabad, India.
Round Lemon international online show2021- UK
PITCH collective video mapping, 2021- Russia
Finalists Exhibition -YICCA Art contest 2017/18- Milan (Italy).
Finalists Exhibition – YICCA Art contest 2017/- Rome (Italy).
Finalists Exhibition – Art Laguna Prize 2015 -Venice (Italy).
Finalists Exhibition – Premio Combat Prize 2015- Livorno (Italy).
International Gallery Of The Arts (IGOA) 2017.
ARTIST IN RESIDENCY:
Artist Residency Programme By Kerala Lalit Kala Academy, 2017, India.
Artists of the Month, October 2021, Wendy.network.
Artist profiles, May 1918, ArtSlant.
J.N.T.U. College of Fine Arts Annual Exhibitions;
All India Art Exhibitions, The Hyderabad Art Society;1988,1989,1990,1991,1992,1993,1994.
P.S. Telugu University Exhibition of Art, Hyderabad; 1997.
ARTIST CAMPS: Andhra Pradesh Young Artists Camp by A.P. Govt., 1997,1998,1999,2000
Suresh Babu Maddilety was born in 1971, in Guntakal town, Andhra Pradesh, India. His father was a signboard artist, and as a child, he used his father’s artistic tools as toys. His father taught him theories of art, science, and philosophy, and how their interdisciplinary relationships work coherently.
Maddilety was astonished by his father’s explanations of astronomy and the aesthetics of the natural world. From that moment on, his curiosity drove him to explore and contextualize both quotidian and phenomenal experiences throughout the chronology of the universe.
In 1992, Maddilety received his BFA from College of Fine Arts, Hyderabad; and an MFA from the University of Hyderabad in 1998. His work has been exhibited both nationally and internationally, and has earned him top honors at the 47th All India Art Exhibition by the Hyderabad art society in 1988.
Maddilety lives and works in Hyderabad.