I’m not interested in photorealistic painting. “Like, I’m not interested in hardcore abstraction or really conceptual art. “I’ve never wanted to make art that speaks only to an art-literate audience,” said Nithiyendran, sitting cross-legged, Crocs kicked off, on a sofa in the Tramway cafe, his long curly hair coiled up in a top knot. It’s an exuberant exploration of global mythologies and cultural identities, with added theatricality courtesy of a smoke machine. The exhibition is both visual spectacle and sensory experience, featuring a makeshift “temple” structure and a towering mud-and-straw sculpture, which is strung with neon LED lighting and doubles as a fountain dripping into a pool of murky water. In the cavernous former tram depot, Nithiyendran has brought together a collection of his increasingly sought-after sculptures - ceramic and brass mashups of ancient deities, pop-culture references and queer sensibilities - in dramatic fashion. It’s a characteristically flamboyant ensemble for the 35-year-old Sri Lanka-born, Sydney-based artist, who is being photographed at Scottish arts venue Tramway, in Glasgow, to celebrate his equally flamboyant new exhibition. He’s pouting, slightly scowling, gently and dressed in an acid-bright floral shirt with pink trousers and lilac flatform Crocs. Ramesh Mario Nithiyendran is striking a pose.
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