CYCLES: Mit Jai Inn Solo Exhibition

 In practice, he first takes toner, pigment, and canvas as the fundamental elements of painting. Through the blending of colour, the accumulation of material texture, and their mutual permeation, he embeds cultural codes within the fabric of sociopolitical experience. In doing so, painting moves beyond the mere production of images and becomes a practice through which abstract language enters space, responds to site, and is re-identified through viewing. At the same time, through the repeated mixing, rubbing, covering, and eroding of pigment, Mit pushes creation toward a cycle of near-laborious process. These seemingly simple gestures respond to the rigorous and repetitive rhythms of everyday life, while also revealing the layers and transformations accumulated by the material over time. The traces left by bodily action register the temporal density of the creative process.

  The solo exhibition CYCLES departs precisely from this long-standing practice, extending the artist’s concern with space, colour, and bodily action toward an inquiry into time. The “cycle” invoked by the exhibition originates in the artist’s reflection on lunar phases, yet it does not stop at the repetition of natural law, nor is it merely the periodic order symbolised by the waxing and waning of the moon. Rather, it concerns how time acts upon the relations between individuals, objects, and perception. The moon’s phases move natural rhythms, while also reflecting the fluctuations of the human body on physiological and emotional levels. Yet regularity itself does not necessarily produce meaning. Without bodily intervention and perceptual participation, cycle can easily recede into empty repetition. What concerns Mit is how difference is reactivated within each seemingly similar return. When viewers participate in the work through movement, touch, browsing, or looking, time is no longer merely the passive background of passing, but becomes an experience given form through action. Just as the lunar cycle continually moves toward its next fullness, the repeated gestures, rhythms, and temporalities of everyday life acquire active value and meaning only through human participation.

  Time in CYCLES is therefore embodied rather than abstract. Formally, the series is composed of twelve pages and twenty-four sides, echoing calendars and ephemerides as systems historically associated with recording temporal and astronomical cycles. The artist binds thickly layered canvases together with metal rings. For Mit, this binding moves beyond functional necessity; conceptually, it introduces a constrained mobility, a structure in which movement is possible but never entirely free from reality. The work occupies the interval between painting and sculpture, requiring viewers to enter it through holding, turning pages, and shifting their gaze. The act of turning may appear modest, yet it is an irreversible gesture. It alters the relations between images, as well as the temporal sequence shared by viewer and work, thereby enabling active participation. At the same time, the work suggests that time cannot be separated from space. Temporal change becomes perceptible only through spatial relations: through distance, displacement, position, and interval. In this sense, time is not an autonomous substance moving behind the world. It emerges through spatial configuration and transformation, through bodies occupying, moving through, and altering positions. What we call duration is ultimately registered within these relations.

  For Mit, time and duration do not simply manifest the linear qualities of abstract time. They are experiences formed through the accumulation of a succession of small decisions. Time, therefore, is not an invisible thing that passes before us, but a process continually made and remade through perception itself.