Baiju Parthan has had an unusual artistic journey. He quit his engineering degree to join art school in Goa at a time (1978-83), when the influx of Westerners or 'hippies', were coming to Goa in search of spirituality. Consequently his early journey as an artist was characterised by the desire to find his existential self, through the mystical arts, ritual arts, mythology and Tantra, using painting as his mainstay, because it is, what he terms, 'so-called existentialism'.
"As a painter one is involved with the existential activities of producing a painting-the reason I became an artist. The whole process of generating an image out of nothing is a tremendous existential justification for me." However in the early 1990s, Parthan decided to work in illustration and writing for a reputed media firm."I worked as an illustrator for almost six years using painting as a medium, mainly because computers were not available at the time. Then in 1993-1994 I began tinkering with computers, then I got into programming. In 1999 I produced my first new media interactive work."
A self confessed recluse, who spends hours at his iMac watching science fiction films, Parthan now works simultaneously with computerised images, animation and 3D graphics. Recently he began working with the flat surface of lenticular technology that simulates a 3D space while reflecting his involvement with virtual spaces. "This coincided with the so-called 3D stereoscopic movies and 3D TVs that have come into fashion; it reflects how popular culture has evolved and coincided with my own work of virtual reality", says Baiju.
Interested in the influences of technology on religious beliefs and on popular culture, he is fascinated by the implications of genetic engineering and the possibilities of post humanism-the development of symbiotic relations between men and machines and by extension man and the city.