FOLD . Institute of Contemporary Arts Galleries . Singapore . Nov 2012
Title of installation: FOLD
Main materials used: Plastic sheeting, metal tubing and powder
Description:
If Deleuze was right that we live in an origami cosmos, folding, unfolding and
refolding, then the fold lines are Rajinder’s transitional spaces that hinge one
fold to another, one space to another, one universe to another. Rajinder’s
current work is based on the notion of perceived spaces that distend from
apertures and portals, such as the shrine, the prayer mat, the temple, located in
real world spaces and holding the eternal promise of a latent existence of
another fold in another cosmos. Rajinder’s work draws upon the physical
presence of these transitional spaces which he orchestrates to create incidental
and unexpected experiences. In his new installation, he investigates how the
experience of this and the otherworld is framed by built spaces in the real world.
Rajinder is interested in developing the idea of the incidental other-worldly
experience through the folds of urban and other spaces.
Rajinder's background in philosophy and mathematics is the driving force behind
his art practice. He is interested in the possibilities of knowledge outside the
domain of traditional paradigms. Rajinder's research today is based on sculptural
interventions situated somewhere between the architectural space and the
materials he uses to shape it. "I am interested in sculptures that are perched in
between form and formlessness, either leaking away or resolutely building some
potential for site-specific systems of knowings." Rajinder sets out to traumatise
the body through disrupted, dislocated architectural spaces forcing the viewer to
pause and question certitudes, abandoning for a short moment the subjectivity
and significance of built space.
Description:
Emulsion paint, gypsum boards, talc, bitumen, wire and frame.
All shown in the exhibition:
Ya-ad
Curated by Jody Neal
Institute of Contemporary Art Galleries
Singapore
November 2011
The Lasalle Show . Institute of Contemporary Arts Galleries . Singapore . May 2011
Description:
Wall, gypsum boards, and cement
All shown in the exhibition:
The Lasalle Show 2011( Wall Door)
Curated by Charles Merewether, Ian Woo and Adeline Kueh
Institute of Contemporary Art Galleries
Singapore
November 2010
4/12 . Institute of Contemporary Arts Galleries . Singapore . Nov 2010
Description:
Wall, gypsum boards, bricks, cement, plastic, sand and wood poles
All shown in the exhibition:
4/12 ( Shatter)
Curated by Charles Merewether, Ian Woo and Adeline Kueh
Institute of Contemporary Art Galleries
Singapore
November 2010
Fragment . D502 Space . Singapore . July 2010
Description:
Cement blocks, a plank, a fragment of a photograph
Cements blocks are piled into a gallery wall with a plank leaning against fragments of an estswhile display of photographs. Artist intent and process is suggested through the fragments of photographs carefully placed.
All shown in the exhibition:
Fragment
D502 Space, Singapore
2010
Object . Praxis Space . Singapore . Feb 2010
Object was shortlisted for the Summer open call competition in New York in 2010
Description:
Paper, card stock, tape, plaster, putty, resin and glue
The installation/intervention converts a section of the wall of the gallery into a living membrane with layers of paint breaking out of the gallery’s whitewashed skin which reference histories of previous installations/events/happenings of the gallery and the school. The building thus reveals itself thru its peeled layers and scars..
It is like something that has grown from a nick in the gallery wall..out of its damaged skin and spread. “The work has no clear boundaries, there's no way to say where it starts and stops, what keeps it from migrating into other “pieces.” The piece conceptually, does not stop at the front door of the gallery; look for my “pieces” in your own home. The framing devices normally put around art works are gone..the work rids itself of frame and migrates not only into other works but also the outside world.. So we have on the one hand the water damaged wall: It is trivial. It is accidental, cast-off, neglected, broken, overlooked, finite. On the other hand – beyond the wall: unending, cosmic, beloved, immaculate, infinite. The tiny next to the enormous, the trivial alongside the majestic; microocsom in its proper kinship with macrocosm.To me…the heavens reflected in an unturned mirror…”
All shown in the exhibition:
OBJECT
group exhibition
Praxis Space, ICA galleries Singapore
2010
The Traumatised Body . Tri-Space Gallery . Singapore . May'10
Description
Plywood, putty, plaster and Styrofoam
A sculptural intervention involving the alteration of a whole gallery wall. Part of the wall is removed and replaced with a series of holes with hidden alcoves. The wall invites interaction or at least a closer look. It invites the voyeur, the detective to take a closer peek, perhaps even snuggle a hand or a finger through a hole to pick at whatever is inside the deep hidden recesses. The sculpture harbours the same attraction as a hole in a city wall that quickly becomes an impromptu 'shrine'.
All shown in the exhibition:
The Traumatised Body
TriSpace, ICA galleries, Singapore
May 2010
Bulldozers in the Brain . C403 Art space . Singapore. Nov '09
Description
10 sculptures ( various dimensions; various materials including wood laminate, wax, acrylic skins etc) exhibited on the walls, the gallery floor as well as on plinths.
Various materials, colors and forms are explored in a number of sculptures in this exhibition to engage with notions of knowledge structures and archaeological dig sites.
“…and then there is the material that excites me. I am working with acrylic skins, wax, plaster of Paris, cement, rusted steel and even fabric because I celebrate their look and feel - their materiality. It gives me intense joy to work with this stuff. Never a complete straight-line. Never a perfect fold. I like it that way…”
All shown in the exhibition:
Bulldozers in the Brain
LaSalle College of Arts, Singapore
2009