LAST PAGE OF THE TEXT BOOK
Born in Sri Lanka, Muvindu Binoy is a multidisciplinary artist whose practice is focused predominantly on digital collage and film. In 2015, the artist presented his first solo exhibition with Saskia Fernando Gallery titled Holy Merchandise. His second solo exhibition, Divine Thru was in 2016, a play on drive-throughs and the Divine Truth. At the end of 2018, he directed his first feature film 'Kotta Baba' premiered at the Goethe Institute in 2019. The work is the first found footage film to be screened in Sri Lanka. In the same year, he began working with 3D digital collage and presented the series of work in his third solo exhibition at Saskia Fernando Gallery titled God is a Mesh. Muvindu Binoy was featured on ARTRA Magazine’s Art & Technology Feb/Mar E34, 2018 for ANUK X MUVINDU, a collaboration between the fields of art and design that utilise reliance on both the physical and digital aspects of everyday life where he drew inspiration from our population’s use of the internet, the varied types of digital cultures and associative neuroses of personality inhibitions. He continues to work with music as a medium, creating a playlist of 'beats' that he shares via Soundcloud.
Muvindu’s latest exhibition, ‘Last Page of the Text Book’ launched on the 17th of December at Saskia Fernando Gallery and continues its showcase till the 14th of January 2021. Last Page of the Text Book is by far a theme, it’s a deliberation of the mixed bag of contemplation and process every real text book carries. Bringing together the mixed effect and the explosive energy of the artist himself. Giving a glimpse into the vibrant most psyche of a millennial Sri Lankan coming out uncompromised during the time of a global pandemic, in different forms of expression.
Muvindu Binoy is an artist whose medium is chosen by the idea. Making him splash across multiple disciplines with flow, edge and ease. His frequented work across years on irregular most mediums, seemingly random and devoid of context, is connected by a single thread. His unbound authentic expression and his self-claimed freedom to come out truly as he is. The narrative in Muvindu Binoy’s work spreads across visual and graphical mixes, uncommon experiments with technology, and at times process disruption of tools, kneejerk met poetics on Instagram, loops and skits, scribbles on fine art and surfaces, extended playlists and films; often placing together the contrasts of the new and ancient, reality and myth, good and the ugly. With his sharp yet mellow cynicism of the society, and at times with his bold outspoken hypocrisy towards evolution, Muvindu pushes the boundaries not just of the society but also of established forms of art and norm, ever so eloquently.