Selection work
2016

rauch_logo

Atleas
Atleas
Like clouds passing through an empty sky or the flickering images on a white cinema screen, Micha Patiniott’s “Smoke Signals” deal with the fleeting, ever-changing nature of form, versus the eternal stillness of the empty canvas.
Untitled (Gush), 41 x 31 cm, gouache, watercolor, ink and pencil on paper, 2015
Untitled (Gush), 41 x 31 cm, gouache, watercolor, ink and pencil on paper, 2015
Rauchzeigen, gallery view, 2016
Rauchzeigen, gallery view, 2016
BJ, oil on polyester canvas, 53 x 72 cm, 2016
BJ, oil on polyester canvas, 53 x 72 cm, 2016

 

Left: Z.T. 42 x 29,3 cm, gouache , watercolor and acrylics on paper, 2016. Right: Snake 'n Rope, 73 x 56 cm, oil on polyester canvas, 2016.
Left: Z.T. 42 x 29,3 cm, gouache , watercolor and acrylics on paper, 2016. Right: Snake ’n Rope, 73 x 56 cm, oil on polyester canvas, 2016.

 

Tooth, oil on paper on canvas, 30 x 40 cm, 2016
Tooth, oil on paper on canvas, 30 x 40 cm, 2016

 

Z.T. (the conductor)
Z.T. (the conductor)

 

Like clouds passing through an empty sky or the flickering images on a white cinema screen, Micha Patiniott’s “Smoke Signals” deal with the fleeting, ever-changing nature of form, versus the eternal stillness of the empty canvas.According to Patiniott, any meaning found through form is elusive and transitory. This ultimately points to its origin and end: the absence or transcendence of meaning itself. The human mind, whose function is to fix meanings to objects, may regard this as absurd or slightly terrifying – but can also feel attracted to it, as to a freeing space of open-endedness.
The paintings in ‘Smoke Signals’ concentrate on these in-between moments. The apparent subject is often the sensory aspect of (the) painting(s). Human figures and anthropomorphised objects can be seen to investigate their surroundings and each other, by means of touch and sight. The figurative happily swirls towards abstraction and vice-versa. Patiniott shows how formal elements – material, composition, shadow, light, shape, and format – induce relationships that either prove or debunk an image’s representational and illusionary meaning. Also on a narrative level, the content of the images vibrates between different possibilities, often opposing ones. Laced with humour, playfulness and sometimes barely concealed violence, the works declare ‘all that is, can always be different.’Visual motifs recur, sometimes in the same context or even as a duplicate – for example in the work “Incredulity” (2013), where a digital drawing functions as a slightly altered double, next to a painting of the same scene, executed in oil on canvas. The repetition of motives that spans the body of work include the empty background, the lamp, the eye, the hand, and the ink-loaded brush or pen. A predominant motive is that of the canvas / picture-frame. Many paintings behave like nested dolls: their content seems self-aware of being a painting, and thus depicts itself within itself.
This happens both formally, by playing with grids and frames-within-frames as a structuring device, and narratively, by depicting human-like canvasses that are engrossed in cartoonesque scenes. An empty canvas with arms and legs that is being stretched and tortured on a medieval breaking wheel, while the wheel is indeed breaking (“Breaking Wheel”, 2014), a curved canvas floating through the air like a saddle without a horse or a giddy ghost (“Saddle Up! 2014), a single canvas standing in a dark space, its ‘body’ curved and bound with straps resembling a straightjacket and the letter C (“C for Canvas, 2014).In the painting “Index” (2015), an androgynous person is depicted holding up a bare canvas. The shape of his outstretched arms makes a frame reminiscent of painting stretcher bars – one of his arms has an unnatural extra joint. The shape and colors of his surroundings, some of them dark and some of them airy, are mapped like a jigsaw-puzzle, also literally framing the body. While one eye is covered by a wisp of hair, the other intently looks at the blank canvas. From the back, his index-finger pokes through the canvas, almost touching the eye. The content of “Index” hinges on the invisible point of concentration, right between the gaze and the touch. It is as if the work expresses a curiosity to see if it can step beyond the confines of its own inquiry, resulting in an indefinable blank spot. This single point of origin finds its visible counterpoint in the multiplicity of black spots that are painted around the image as a whole: the suggestion of little nails in a stretched canvas.

rauch_logo

Micha Patiniott
Lives and works in Amsterdam.

Education / Residencies
Rijksakademie van beeldende kunsten, Amsterdam, 2006 – 2007
Fine Arts Work Center, Provincetown, Massachusetts, 2008 – 2009
ARTSCHOOL/UK, London, 2010

Awards and Fellowships
2012 Basic stipend Mondriaan Foundation
2010 Shortlist Wim Izaksprijs
2009 Louise Bourgeois Fellowship
2006 & 2007 Stichting Schurmann-Krant Fellowship

Solo exhibitions
2014 ZzzzzZzzZzz, Anna Zorina Gallery, New York
2011 I Know It When I See It, MKgalerie, Rotterdam
2010 Curiously Human, Stedelijk Museum Schiedam (cat.)
2010 Curiously Human, MKgalerie, Rotterdam
2009 The Full Story, Art Amsterdam (with MKgalerie)
2008 The Full Story, Hudson D. Walker Gallery, Provincetown, Massachusetts

Group exhibitions (selection)
2014 I am not doing anything until I feel the need, De Nederlandse Bank, Amsterdam
2014 Primitive – Prime Time, Anna Zorina Gallery, New York
2013 The Air Near My Fingers, Provincie Noord-Holland, Haarlem, The Netherlands
2013 Stubenhocker 3, Galerie Roy, Zülpich and Kers Gallery, Amsterdam
2013 Heart of Art, Anna Zorina Gallery, New York
2013 We Like Art at Westergasfabriek, Amsterdam
2013 As Tears Go By, Cokkie Snoei, Rotterdam
2013 We Like Art at Bijenkorf, Amsterdam
2013 Fenne, Van der Sterren, De Koning & Patiniott, Lutz, Delft
2012 Figuurlijk: de menselijke figuur in de beeldende kunst, Museum Hilversum(cat.)
2012 Door Schildersogen / From a Painter’s Perspective, Arti et Amicitiae, Amsterdam (cat.)
2012 Het Ongerijmde, Tricot (Stichting Wim Izaks), Winterswijk
2012 Refresh, PG Contemporary, Houston, Texas
2012 New Acquisitions AMC collection, AMC Brummelkamp Galerie and AMC Amsterdam
2012 4 de Korenbeurs Schiedam, Tanya Rumpff, Schiedam
2012 Haarlemse Lente, Tanya Rumpff, Haarlem
2012 MK Award Fundraiser Show, Re: Rotterdam
2011 What’s Up? De jongste schilderkunst in Nederland, Dordrechts Museum (cat.)
2011 New Acquisitions Erasmus MC collection, Erasmus galerie, Rotterdam
2011 Art Rotterdam, MKgalerie
2010 We Like Art 6%, New Dakota, Amsterdam
2010 Pulse Miami, MKgalerie, Miami
2010 Good Vibrations, MKgalerie, Rottterdam
2010 ARTSCHOOL/UK and its Observers, Whitechapel Gallery, Londen

ZzzzZzzz, text
ZzzzZzzz, text