Vijay Hingorani studied chemistry at Northwestern University and biochemistry and medicine at the University of Illinois. He then trained in neurology at the University of Arizona. Following a general neurology and chronic pain practice he has spent the last several years in drug development helping to translate scientific discoveries in the laboratory to medicines that benefit patients.
Since high school he has also followed a parallel path with his artistic endeavors. During high school, in addition to drawing and painting he learned to weld and fabricate with steel while working in a small conveyor factory. In college, although his primary field of study was chemistry he also emphasized photography and served as staff photographer and photo editor of various student publications.
In more recent years his interest in three-dimensional works has grown and he has experimented with many media ranging from photography to stained and fused glass, mosaics, stone, clay, wood, and metal to painting and new media art. His current interests are primarily painting and sculpting incorporating digital design and fabrication into his workflow. Although largely self-taught he has refined his skills by participating in occasional classes and workshops.
Several years spent as a practicing neurologist struggling to fathom the workings of the human brain and the innumerable ways in which it can fail and even a greater number of years spent as a researcher applying scientific principles to develop new medicines to treat human ailments have left me with indelible impressions of our fragmentary understanding of the natural world and the fleeting nature of our existence. My work is informed by these experiences and I represent these observations in the art that I make. My work is further influenced by a study of Buddhist and Stoic philosophies and in particular the notions of attachment and impermanence.
At the core of my process is the utilization of digital technologies in the design and fabrication of work. Artists have always been at the forefront in the incorporation of new technical advances to art-making. The recent and widespread availability of increasing microprocessing power coupled with the RepRap project and the availability of desktop 3D printers and CNS routers is no exception. My sculpting techniques have evolved from working in stone and steel to fabricating sculptures with digital methods including fused filament fabrication (FFF) and computer numerical control (CNC) of traditional power tools. Despite the use of current technologies my process typically concludes with traditional sculpting and painting techniques.