-
Micha Patiniott creates lyrical minimalist and atmospheric paintings of everyday objects and processes in flux, blurring the boundaries of the mundane and the cosmic. Intimate subjects, such as the blinking of a butterfly’s wings, the throbbing of intimate body parts, the curving of a mathematical object, an empty page, or a turning portrait, are transformed into sensuous otherness.
Patiniott had an artist residency at the Rijksakademie in Amsterdam in 2006 & 2007. International solo and group exhibitions include the Stedelijk Museum Schiedam, Anna Zorina Gallery (New York), PuntWG (Amsterdam), Cinnnamon (Rotterdam), Heden (Den Haag), WHATSPACE (Tilburg), MKgalerie (Rotterdam), Galerie Sturm (Nuremberg), Dordrechts Museum, Whitechapel Gallery (London), Museum Provincetown (Massachusetts), Arti et Amicitiae (Amsterdam), Museum Hilversum, Provincetown Art Association and Museum, and Provinciehuis Noord-Holland (Haarlem).
Blink I — 2020, oil on canvas, 60 x 55 cm
Turning Potraits
The Turning II — 2022, oil on cotton, 38 x 64 cm; The Turning I — 2022, oil on cotton, 38 x 64 cm
The Turning IV — 2023, oil on cotton, 38 x 64 cm; The Turning III — 2023, oil on cotton, 38 x 64 cm
Portals
Portal II — 2022, oil on cotton, 40 x 45 cm
Portal I — 2021, oil on canvas, 40 x 45 cm
Bloom
Bloom I — 2022, oil on cotton, 40 x 65 cm; Bloom II — 2022, oil on canvas 31 x 47 cm
Bloom II — 2022, oil on canvas 31 x 47 cm
Pulse I — 2022, oil on cotton, 45 x 35 cm
Klein Bottles
Klein Bottle III — 2023, oil on cotton, 40 x 45 cm
Klein Bottle II — 2023, oil on cotton, 45 x 35 cm
Crack — 2021, oil on cotton, 42 x 33 cm
Celestial Bodies
Throb I — 2021, oil on canvas, 33 x 47 cm; Throb II — 2021, oil on canvas, 33 x 48 cm; Throb III — 2021, oil on canvas, 36 x 56 cm
Throb VII — 2021, oil on cotton, 32 x 46 cm
Pulse II — 2022, oil on canvas, 48 x 34 cm
Pulse III — 2022, oil on canvas, 50 x 33 cm
Branch — 2022, oil on canvas, 36 x 50 cm
Superstring — 2021, oil on canvas,48 x 35 cm; Branch — 2022, oil on cotton, 36 x 50 cm
Beacons
Beacon I — 2020, oil on cotton, 50 x 40 cm; Beacon II — 2022, oil on cotton, 50 x 40 cm
Beacon II — 2022, oil on cotton, 50 x 40 cm
Folds & Slits
Slit II — 2019, oil on canvas, 40 x 30 cm; Slit I (Fontana's Stage) — 2021, oil on canvas, 41,5 x 52,5 cm
Slit II — 2019, oil on canvas, 40 x 30 cm
Bloom I — 2022, oil on cotton, 40 x 65 cm
Fold II — 2023, oil on cotton, 45 x 35 cm;
Fold I — 2023, oil on cotton, 45 x 35 cm;
Leaking — 2021, oil on canvas, 43 x 32 cm
Snooze— 2018, oil on canvas, 48 x 45 cm; Brush — 2021, oil on canvas, 50 x 40 cm
Snooze— 2021, oil on canvas, 48 x 45 cm
Brush — 2021, oil on canvas, 50 x 40 cm
Canonically Speaking
Paintings series for the publication of the short story collection "'Canonically Speaking" by Mila Lanfermeijer
The Strand I (Inky blue radiance) — 2023, oil on canvas, 47 x 45 cm
The Strand II — 2023, oil on canvas, 40 x 32 cm
Soft Touch — 2023, oil on canvas, 47 x 40 cm
The Crown — 2023, oil on canvas, 47 x 37 cm
The Strand III (Purple Haze) — 2023, oil on canvas, 37 x 47 cm
Clearings
A Clearing I — 2020, oil on canvas, 50 x 40 cm; A Clearing II — 2020, oil on canvas, 40 x 30 cm
A Clearing I — 2020, oil on canvas, 50 x 40 cm
A Clearing II — 2020, oil on canvas, 40 x 30 cm
Anchor I — 2021, oil on canvas, 50 x 60 cm
The Butterfly Effect
“Does the flutter of a butterfly's wings set off a whirlwind in one’s mind?”
Micha Patiniott creates minimalistic and atmospheric paintings of everyday objects and processes in flux, blurring the boundaries of the mundane and the cosmic. Familiar and intimate subjects, such as the blinking of a butterfly’s wings, the throbbing of intimate body parts, the curving of a mathematical object, and the turning of an ambiguous portrait, are transformed into sensuous otherness through painterly modifications.
Bodies and objects are in flux: things float and are in the midst of changing form, entirely absent, or in various states of becoming. These spectral presences blur spatialities, temporalities, and corporalities, where boundaries between inner experience and outer world become fluid. Patiniott’s hyper-focus on moments of transience reveals how small and seemingly insignificant events can hold personal significance while hinting at something beyond - on the level of the macro, the universal, or the sublime.
Patiniott explores most motifs in series, resulting in kindred images in transformations that reveal patterns, echoes, and divergences. They imply cyclical ideas such as forms of entering, expanding and contracting, breathing, turning, pumping, shimmering, shifting, reflecting, birthing, transforming, and repeating. The play of light and color is essential: careful atmospheric shifts in brightness and transparency bring about a contemplative sense of vibrancy and allude to a contemporary take on historical painting techniques like impressionism and sfumato. A restrained palette of mono or duo chrome colors is juxtaposed with a shifting of local colors to the psychedelic. Objects are shown individually or repeated in rhythmic patterns, often zoomed in on and decontextualized by placing them in enigmatically empty surroundings.
Familiar imagery is repositioned by withholding or emphasizing details in combinations that seduce to a slowed-down scrutinizing. Some parts are strongly blurred and suggest movement, a going out of focus, or a transformation into abstract ambiguity. In contrast, other parts are sharply defined, with crisp details and bright highlights, as an analog to the concentration of the eye.
The Butterfly Effect
“Does the flutter of a butterfly's wings set off a whirlwind in one’s head?”
Materialities hover between glasslike transparency and marble opacity, the human skin, and intangible fields of energy. These manipulations of objecthood allow for the possibility of multiple interpretations of a singular shape, encouraging an inquiry into the nature of perception and proposing a less dualistic view between real and imaginary, memory and the present, dreamworld and waking state.
“Once Zhuangzi dreamt he was a butterfly, a butterfly flitting gaily about. He knew nothing about Zhuangzi. Then suddenly he awoke and he was at once solidly and unmistakably himself, Zhuangzi. But he didn’t know whether he was a man who dreamt he was a butterfly or was a butterfly dreaming he was a man. Surely there’s a difference between Zhuangzi and a butterfly. This is what we call the transformation of things.”
4th century BC, from the Zhuangzi, a Daoist text by master Zhuangzi
Patiniott embraces impermanence as a key element in investigating the transcendent and the sublime through painting. Building on postmodern ideas of hyper-subjectivity and deconstructed identities, this aligns with metamodernism's call to empathetically explore ever-shifting perspectives of the self. Through a web of temporary visual metaphors, he seeks to connect the metaphysical to the personal, creating a dynamic visual experience that invites ongoing dialogue with the viewer. Rather than positing fixed events, Patiniott's work functions like a network of visual kōans, offering a rhizomatic stream of perception.
“We work with being,
but non-being is what we use”
600 BC, kōan from the Tao Te Ching
Micha Patiniott works and lives in Amsterdam.
Patiniott was a resident artist at the Rijksakademie in 2006 and 2007. He has participated in solo and group exhibitions internationally including Stedelijk Museum Schiedam, PuntWG (Amsterdam), Cinnnamon (Rotterdam), Heden (Den Haag), WHATSPACE (Tilburg), MKgalerie (Rotterdam), Galerie Sturm (Nuremberg), Anna Zorina Gallery (New York), Dordrechts Museum, Whitechapel Gallery (London), Museum Provincetown (Massachusetts), Arti et Amicitiae (Amsterdam), Museum Hilversum, and Provinciehuis Noord-Holland (Haarlem). His work is included in private, public and museum collections within the Netherlands and internationally.
.
Micha Patiniott creates atmospheric, lyrical minimalist paintings of everyday objects and processes in flux, blurring the boundaries of the mundane and the cosmic.
Fold I — 2023, oil on cotton, 45 x 35 cm; Fold II — 2023, oil on cotton, 45 x 35 cm; Leaking — 2021, oil on canvas, 43 x 32 cm
Blink I — 2020, oil on canvas, 60 x 55 cm
Klein Bottle III — 2023, oil on cotton, 40 x 45 cm; Blink II — 2020, oil on canvas, 60 x 55 cm
Turning Potraits
The Turning II — 2022, oil on cotton, 38 x 64 cm; The Turning I — 2022, oil on cotton, 38 x 64 cm
The Turning II — 2022, oil on cotton, 38 x 64 cm
The Turning I — 2022, oil on cotton, 38 x 64 cm
The Turning IV — 2023, oil on cotton, 38 x 64 cm; The Turning III — 2023, oil on cotton, 38 x 64 cm
The Turning III — 2023, oil on cotton, 38 x 64 cm
The Turning V — 2023, oil on cotton, 38 x 64 cm
Portals
Portal II — 2022, oil on cotton, 40 x 45 cm
Thorns — 2021, oil on canvas, 49 x 33 cm; Portal I — 2021, oil on canvas, 40 x 45 cm
Portal I — 2021, oil on canvas, 40 x 45 cm
Bloom
Bloom I — 2022, oil on cotton, 40 x 65 cm; Bloom II — 2022, oil on canvas 31 x 47 cm
Bloom II — 2022, oil on canvas 31 x 47 cm
Pulse I — 2022, oil on cotton, 45 x 35 cm
Klein Bottles
Klein Bottle III — 2023, oil on cotton, 40 x 45 cm
Klein Bottle I — 2023, oil on cotton, 55 x 40 cm; Klein Bottle II — 2023, oil on cotton, 45 x 35 cm
Klein Bottle I — 2023, oil on cotton, 55 x 40 cm
Klein Bottle II — 2023, oil on cotton, 45 x 35 cm
Crack — 2021, oil on cotton, 42 x 33 cm
Celestial Bodies
Throb I — 2021, oil on canvas, 33 x 47 cm; Throb II — 2021, oil on canvas, 33 x 48 cm; Throb III — 2021, oil on canvas, 36 x 56 cm
Throb VII — 2021, oil on cotton, 32 x 46 cm
Pulse I — 2022, oil on cotton, 45 x 35 cm
Pulse III — 2022, oil on canvas, 50 x 33 cm
Superstring — 2021, oil on canvas,48 x 35 cm; Branch — 2022, oil on cotton, 36 x 50 cm
Branch — 2022, oil on canvas, 36 x 50 cm
Beacons
Beacon I — 2020, oil on cotton, 50 x 40 cm; Beacon II — 2022, oil on cotton, 50 x 40 cm
Beacon II — 2022, oil on cotton, 50 x 40 cm
Folds & Slits
Slit II — 2019, oil on canvas, 40 x 30 cm; Slit I (Fontana's Stage) — 2021, oil on canvas, 41,5 x 52,5 cm
Slit II — 2019, oil on canvas, 40 x 30 cm
Bloom I — 2022, oil on cotton, 40 x 65 cm
Fold I — 2023, oil on cotton, 45 x 35 cm;
Leaking — 2021, oil on canvas, 43 x 32 cm
Snooze— 2018, oil on canvas, 48 x 45 cm; Brush — 2021, oil on canvas, 50 x 40 cm
Snooze— 2018, oil on canvas, 48 x 45 cm
Brush — 2021, oil on canvas, 50 x 40 cm
Canonically Speaking
Paintings series for the publication of the short story collection "'Canonically Speaking" by Mila Lanfermeijer
The Strand I (Inky blue radiance) — 2023, oil on canvas, 47 x 45 cm
The Strand II — 2023, oil on canvas, 40 x 32 cm
Soft Touch — 2023, oil on canvas, 47 x 40 cm
The Crown — 2023, oil on canvas, 47 x 37 cm
The Strand III (Purple Haze) — 2023, oil on canvas, 37 x 47 cm
Clearings
A Clearing I — 2020, oil on canvas, 50 x 40 cm; A Clearing II — 2020, oil on canvas, 40 x 30 cm
A Clearing I — 2020, oil on canvas, 50 x 40 cm
A Clearing II — 2020, oil on canvas, 40 x 30 cm
Anchor I — 2021, oil on canvas, 50 x 60 cm
The Butterfly Effect
“Does the flutter of a butterfly's wings set off a whirlwind in one’s mind?”
Micha Patiniott creates minimalistic and atmospheric paintings of everyday objects and processes in flux, blurring the boundaries of the mundane and the cosmic. Familiar and intimate subjects, such as the blinking of a butterfly’s wings, the throbbing of intimate body parts, the curving of a mathematical object, and the turning of an ambiguous portrait, are transformed into sensuous otherness through painterly modifications.
Bodies and objects are in flux: things float and are in the midst of changing form, entirely absent, or in various states of becoming. These spectral presences blur spatialities, temporalities, and corporalities, where boundaries between inner experience and outer world become fluid. Patiniott’s hyper-focus on moments of transience reveals how small and seemingly insignificant events can hold personal significance while hinting at something beyond - on the level of the macro, the universal, or the sublime.
Patiniott explores most motifs in series, resulting in kindred images in transformations that reveal patterns, echoes, and divergences. They imply cyclical ideas such as forms of entering, expanding and contracting, breathing, turning, pumping, shimmering, shifting, reflecting, birthing, transforming, and repeating. The play of light and color is essential: careful atmospheric shifts in brightness and transparency bring about a contemplative sense of vibrancy and allude to a contemporary take on historical painting techniques like impressionism and sfumato. A restrained palette of mono or duo chrome colors is juxtaposed with a shifting of local colors to the psychedelic. Objects are shown individually or repeated in rhythmic patterns, often zoomed in on and decontextualized by placing them in enigmatically empty surroundings.
Familiar imagery is repositioned by withholding or emphasizing details in combinations that seduce to a slowed-down scrutinizing. Some parts are strongly blurred and suggest movement, a going out of focus, or a transformation into abstract ambiguity. In contrast, other parts are sharply defined, with crisp details and bright highlights, as an analog to the concentration of the eye.
The Butterfly Effect
“Does the flutter of a butterfly's wings set off a whirlwind in one’s head?”
Materialities hover between glasslike transparency and marble opacity, the human skin, and intangible fields of energy. These manipulations of objecthood allow for the possibility of multiple interpretations of a singular shape, encouraging an inquiry into the nature of perception and proposing a less dualistic view between real and imaginary, memory and the present, dreamworld and waking state.
“Once Zhuangzi dreamt he was a butterfly, a butterfly flitting gaily about. He knew nothing about Zhuangzi. Then suddenly he awoke and he was at once solidly and unmistakably himself, Zhuangzi. But he didn’t know whether he was a man who dreamt he was a butterfly or was a butterfly dreaming he was a man. Surely there’s a difference between Zhuangzi and a butterfly. This is what we call the transformation of things.”
4th century BC, from the Zhuangzi, a Daoist text by master Zhuangzi
Patiniott embraces impermanence as a key element in investigating the transcendent and the sublime through painting. Building on postmodern ideas of hyper-subjectivity and deconstructed identities, this aligns with metamodernism's call to empathetically explore ever-shifting perspectives of the self. Through a web of temporary visual metaphors, he seeks to connect the metaphysical to the personal, creating a dynamic visual experience that invites ongoing dialogue with the viewer. Rather than positing fixed events, Patiniott's work functions like a network of visual kōans, offering a rhizomatic stream of perception.
“We work with being,
but non-being is what we use”
600 BC, kōan from the Tao Te Ching
Micha Patiniott works and lives in Amsterdam.
Patiniott was a resident artist at the Rijksakademie in 2006 and 2007. He has participated in solo and group exhibitions internationally including Stedelijk Museum Schiedam, PuntWG (Amsterdam), Cinnnamon (Rotterdam), Heden (Den Haag), WHATSPACE (Tilburg), MKgalerie (Rotterdam), Galerie Sturm (Nuremberg), Anna Zorina Gallery (New York), Dordrechts Museum, Whitechapel Gallery (London), Museum Provincetown (Massachusetts), Arti et Amicitiae (Amsterdam), Museum Hilversum, and Provinciehuis Noord-Holland (Haarlem). His work is included in private, public and museum collections within the Netherlands and internationally.