TKG Plus

Mit Jai Inn
Defying conventional boundaries of painting, Mit Jai Inn enacts multiple histories and treatments of the medium through a physically rigorous and repetitive labour cycle of mixing, applying, overlaying and eroding pigment. His paintings come into being at his outdoor Chiang Mai studio, where he gives turns to the vibrating spectrum of sun and moonlight, with nocturnal interludes under white fluorescent. His colourful, densely layered work takes a on a wide range of topographical variations and moods, ranging from sombre amorphous blotches, to pastel crafted stripes to neon all-over dots, and more.

Mit’s largely solitary studio practice is rooted in perception, with relational intentions. Emerging in Berlin and Vienna in the late 1980s, Mit began a vocabulary of serial forms intended to counter aspects of formal painting and its market and exhibitionary frameworks of their time. Mit’s paintings were unstretched and unframed, mostly two-sided, touchable works that populated public spaces and galleries alike. Embedded in Mit’s painted forms are reactions to aesthetic, social and political histories. These include divisions between so-called ‘Western’ and ‘Eastern’ canonical painting, the sacred-secular intimacy of color, the shifting political states of Thailand, and site-specific reflections dedicated to the nations, spaces, hosts and publics of his works.