Ramesh Mario Nithiyendran (b. 1988 Colombo Sri-Lanka, Australia from 1989)
Sri-Lankan born artist Ramesh Mario Nithiyendran is a contemporary artist who explores the politics of sex, the monument, gender and religion.
At the age of 32, he has delivered major artworks of scale in museums, biennales and multi-art centres. This has included major presentations at the National Gallery of Australia, The Art Gallery of New South Wales, The Dhaka Art Summit and Art Basel Hong Kong. He is regularly featured as one of the leading practitioners of his generation, being promoted to the public in a diverse range of print, online and television media.
In 2019, he received a Sidney Myer Creative Fellowship to recognise his outstanding talent and exceptional professional courage. He was also included Thames and Hudson’s book, 100 Sculptors of Tomorrow; a global survey of cutting-edge, sculptural practice, and included in the largest historical survey of LGBTQ Asian Art at the Bangkok Art and Cultural Centre.
His work is held in various collections, including the National Gallery of Australia, the Art Gallery of South Australia, The Art Gallery of New South Wales, The Art Gallery of Western Australia, The Museum of Applied Arts and Sciences, The Ian Potter Museum of Art and the Shepparton Art Museum.
Nithiyendran is represented by Sullivan + Strumpf.
What does Hatched mean to you?’
I exhibited in Hatched ten years ago. At the time, it was a hugely significant experience. I had just completed my undergraduate studies and the ensuing happenings were novel and exciting. It involved a number of firsts. It was my first show interstate and my first time displaying a significant body of work in a public institution. Seeing the exhibition develop over the years, it’s clear that Hatched is unique. As a survey of developing practices from tertiary art educational institutions we get insights into pedagogical trends. Also, it’s location in Perth addresses the East coast centrism that ‘Australian art’ sometimes experiences.
As I’ve developed my career over the last decade, I’ve been able to reflect upon the significance of institutional support of emerging practices. It’s important we get a sense of what new generations of artists are thinking, feeling and exploring. I look forward to seeing how the exhibition manifests and transforms in the coming years.
