Robin Chuter
Launcher of Aerial Roots

Robin Chuter uses a medieval Japanese technique for his paintings- Suminagashi (floating ink). Through his drawings, he looks to ancient times, when the primal man found the invention of leaving the traces on stone. Without a connection to each other, to identify only through gesture an automatic logic, it links together the natural rhythms and the images, which the work acts as a catalyst as a result. The drifting and broadcast of the regional points and the breeding of the wave lines wriggles and adaption of the paint, its’ condensation and rarefaction, the stream and waves are just the whole life of the material, which is chaotic and harmonic the same time. 

The subjectivity is expelled from the painting deed of Robin Chuter. There is no personal gesture or manner. But it revivals due to the mobility of the painting space. The exotic trimmings of him seek and find margins and glades in the industrial products available in the world, such as various envelopes and boxes. Art, as a helix, running out of its sheath moving forward as the thousand feet, like the forest, like nature, it is coming back to re-overrun the territories, which were stolen by that World from nature. 

The French art theorist and curator Nicolas Bourriaud has created a concept to describe the subject of contemporary reality. He says that unlike modernity, which was radical, uprooted the tree to plant a new one, the subject of contemporary reality is radiant. It raises its roots gradually as ivy. 

But this subjectivity is impersonal; it describes the art characterised by displacement and migration. But that subject is indivisible, characterized by displacement and migration. From the high, but the conventional function of expressing symbolic and contemplative, emotional and narrative ideas, it is merely the presence of a particular body of bi-cultural systems, its tricks, or a secret agent whose only purpose is to provide metabolism and maintain a thermodynamic balance.

Nazareth Karoyan