one of the contemporary artists for all universes
suresh babu maddilety
Time and matter are an endless canvas that I fill with ideas. I weave science and philosophy into visual manifestations using digital media, text, photography, paint, and found images and objects. I am inspired by the inherent and otherworldly characteristics of elements and occurrences that constitute the world we occupy and the universe that surrounds us.
My process begins in a manner that is similar to how a scientist or philosopher searches for evidence or logic in support of a theory. My hypothesis is that all visual materials and experiences are cyclical and connected in reality. I consider the representational imagery in my art to be visual depictions of atoms, which influence our perception, mental state, and consciousness. 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. Seeing all materials as atoms, I mimic how mediums are transformed through natural processes over the course of time. This is the case with my performative video series, Social liquids, where I combine commonly shared and utilized organic materials like municipal water and garden flowers, in order to document the evolution of these items, and in turn, create new ephemeral amalgamations that become a part of the creative life cycle.
In my art, disparate fragments of objects and images are transfigured and held together by common threads, because all these facets articulate cycles of renewal and metamorphosis. This idea is based on theoretical physicist Roger Penrose’s theory of Conformal Cyclic Cosmology. I view my work as being a process in continuum and as part of a larger undertaking within artistic discourse and practice. Through my own artwork, I am creating visual and empirical formulas for present and future artists to utilize and expand upon.
I consider my art to be an empirical process, akin to scientific and philosophical methods, that creates blueprints that future artists might be able to expand upon.
My work does not stop at its visual elements. I add text alongside my digital media, photographs, and paintings, in order to supplement the aesthetics and develop a greater understanding of my creative procedure.
I am interested in creating new art movements and genres. Some of my work can be implemented and re-presented in its current state, while other bodies of work are abstract and exist in a nonmaterial space. As more technological innovations become possible, these latter works will be revisited and enhanced 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 artwork, in order to represent a starting point and method for future scrutinization of essential materials that we cannot see. Scientists deal with these mediums in order to gain understanding into how our universe, ecosystem, and bodies function. Artists can also utilize these microscopic objects and make visual representations out of them. While scientists need to be pragmatic and maintain a more rigid systematic procedure, the artist can employ a more fantastical process to examine similar hypotheses.
Microscopicism is a way to describe the most minute qualities in the universe in a manner that makes processes, like photosynthesis and cell cycles, visible to the naked eye. It is my hope that in the future artists will be able to visualize these phenomena for everyone to see in plain view.
In this series of digital media–based artworks, I imagine what it would be like to playfully manipulate the physical form and structure of our universe. 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.
While these two works in the series are digitally rendered, perhaps future artists will be able to construct works of art utilizing actual galaxies as a medium. Ultimately, these conceptual works of art challenge us to imagine the possibilities of scientific and creative exploration and discovery.
I created this composition by selecting and arranging a series of photographs from Flickr. However, the photographic image is not the end of the artwork. It is intended to generate a personal response from the viewer, who will create their own story based on how these images make them feel.
Each viewer’s unconscious analyzes these images in a unique way. These particular photographs are unsettling, and they might conjure up certain fears or anxieties. I want to propose that the subconscious mind is like a camera, which takes a still image of an ephemeral moment in time (a snapshot) and reflects it back for us to contemplate.
4. Found the Space for Art
4. Found the space for art
the drawing inside the rock
This is a video 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. My drawing is essentially referencing this process.
The rock, the ground it sits on, and the landscape that surrounds it, are all placeholders. With imagination we can construct new forms within these structures. In doing so, we could create nearly anything we desire inside of rocks, hills, planets, and the universe at large. I am exploring the potential for manipulating existing matter in order to create new imagery. Future artists might generate artworks using the space inside of mountains, the human body, atoms, or celestial objects.
This is a 3D model of a conceptual bio art satellite. While the artificial satellites in space are made from metals (aluminum and titanium), this satellite is constructed from layers of rendered brains and flesh. The bio art satellite focuses on the presentation of art throughout time and place. It will reflect works of art realized on Earth, and project them throughout the universe.
Additionally, the bio art satellite will help us locate other artistic ideas within the cosmos and inform us about new forms of art, which are currently unknown to us. These aesthetic forms may consist of artful creations by intelligent outer space beings.
I am imagining a future where the history of art will become a universal discipline. We might eventually be influenced, not only by our own chronology of art, but by historic and contemporary art from other galaxies and alien civilizations.
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 word that was formed from this amalgamation of letters is meaningless and absurd. When I put my made-up word into the Google translation app, I am able to hear how the voice of the AI software pronounces this unique vocabulary object.
Pronouncism is very interesting to me. In the future, this abstract word may have the potential to be manipulated in a manner that creates new works of art using a visual vocabulary that is similar to the aforementioned randomized process.
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 due to physical and periodic change. For example, in nature, coal becomes diamond over time. I see all materials 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, in turn, create new ephemeral amalgamations that become a part of the creative life cycle.
Since my preoccupation is with the procedure by which materials evolve, I carefully document my process via video.
8. Artifact Materialism
Materialism is one of the major philosophical concepts that my work addresses. According to the tenets of this ideology, matter is fundamental to the universe and defines all forms of creation. These forms then become 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 interpret all of the objects in my paintings to be 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 down to a single angle or vantage point. Additionally, I stick a piece of a magnet behind each canvas as a metaphor for power.
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. Prior to conventional perspective (i.e., one- and two-point perspective), artists used a reverse perspective, 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, a wheel, when viewed from a side angle, becomes circular. When seen from the front, it turns into an oval. When I apply paint to the surface of the canvas, I sculpt and freeze the distorted oval and continue to portray it from every angle. In Ovalism, one angle proportions into every other angle.
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.
For video work in IAR International Artist Residency 2020- Napoli (Italy).
1st 2018 Art Slant Prize juried winner, USA.
For installation work in YICCA Art contest 2017/2018 – Milan (Italy).
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, 2021,Italy.
Modigliani Opera Vision Venice Biennale, 2021, Italy.
ARTIST RESIDENCE PROGRAM:
Kerala Lalithakala Academy Artist in Residency program at Kannur, Kerela, India 2017.
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.
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.
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