About Patrick Wilson Githinji Artist
Githinji Patrick (°1977, Nyeri, Kenya) makes paintings, photos and drawings. By choosing mainly formal solutions, Patrick tries to develop forms that do not follow logical criteria but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His paintings directly respond to the surrounding environment and use everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality are questioned. By applying abstraction, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition are important as an act of meditation.
His works don’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By contesting the division between the realm of memory and the realm of experience, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By exploring the concept of landscape in a nostalgic way, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.