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singithikandage-process: Singithi Kandage, Cordyceps series, encaustic and oil on panel, dimensions variable. 2011. “The series, named after a species of parasitic fungus, uses both the natural textural forms of encaustic painting, and the individually-extracted fibres of cotton canvas thread invoke the horror of unpredictable and accelerated decay within an environment. Specifically, these works manifest the idea that misuse of the natural environment ultimately harms to human societies, and riff on the environmental concerns ranging from the spread of disease among monoculture farming, the rise of vaccine-resistant viruses, and the toxic effects of algal blooms in the world’s warming oceans. Far from being site-specific, they are instead site responsive, and include the possibility of simply infecting every painting in the surrounding area, even threatening to penetrate the architecture of the building, the city, and potentially the rest of the world. As with real-world environmental concerns, within their destructive potential is the message of how deeply interconnected the realms of the cultural and the natural truly are.”
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singithikandage-process: Singithi Kandage, Cordyceps series, encaustic and oil on panel, dimensions variable. 2011. “The series, named after a species of parasitic fungus, uses both the natural textural forms of encaustic painting, and the individually-extracted fibres of cotton canvas thread invoke the horror of unpredictable and accelerated decay within an environment. Specifically, these works manifest the idea that misuse of the natural environment ultimately harms to human societies, and riff on the environmental concerns ranging from the spread of disease among monoculture farming, the rise of vaccine-resistant viruses, and the toxic effects of algal blooms in the world’s warming oceans. Far from being site-specific, they are instead site responsive, and include the possibility of simply infecting every painting in the surrounding area, even threatening to penetrate the architecture of the building, the city, and potentially the rest of the world. As with real-world environmental concerns, within their destructive potential is the message of how deeply interconnected the realms of the cultural and the natural truly are.”
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singithikandage-process: Singithi Kandage, Cordyceps series, encaustic and oil on panel, dimensions variable. 2011. “The series, named after a species of parasitic fungus, uses both the natural textural forms of encaustic painting, and the individually-extracted fibres of cotton canvas thread invoke the horror of unpredictable and accelerated decay within an environment. Specifically, these works manifest the idea that misuse of the natural environment ultimately harms to human societies, and riff on the environmental concerns ranging from the spread of disease among monoculture farming, the rise of vaccine-resistant viruses, and the toxic effects of algal blooms in the world’s warming oceans. Far from being site-specific, they are instead site responsive, and include the possibility of simply infecting every painting in the surrounding area, even threatening to penetrate the architecture of the building, the city, and potentially the rest of the world. As with real-world environmental concerns, within their destructive potential is the message of how deeply interconnected the realms of the cultural and the natural truly are.”
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singithikandage-process:

Singithi Kandage, Cordyceps series, encaustic and oil on panel, dimensions variable. 2011.

“The series, named after a species of parasitic fungus, uses both the natural textural forms of encaustic painting, and the individually-extracted fibres of cotton canvas thread invoke the horror of unpredictable and accelerated decay within an environment. Specifically, these works manifest the idea that misuse of the natural environment ultimately harms to human societies, and riff on the environmental concerns ranging from the spread of disease among monoculture farming, the rise of vaccine-resistant viruses, and the toxic effects of algal blooms in the world’s warming oceans. Far from being site-specific, they are instead site responsive, and include the possibility of simply infecting every painting in the surrounding area, even threatening to penetrate the architecture of the building, the city, and potentially the rest of the world. As with real-world environmental concerns, within their destructive potential is the message of how deeply interconnected the realms of the cultural and the natural truly are.”

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