Udaiyan was born in 1970 in India and was brought up as a Hindu Aaiyyanist (which is a form of Dravidian Hinduism). Udaiyan traveled extensively with his Parents who were Healers of the Aatmani School and spent brief periods of time in Mauritius, Glasgow, Paris, Kyoto, Istanbul, San Francisco and finally settled in England (London). Udaiyan was schooled in religious temple painting and the sacred scripts of the Aaiyyanists from an early age. He continued along this path until the late 80s/early 90s when he rebelled against this strict upbringing and started creating figurative art. He was deeply influenced by Western and Eastern art including Bouguereau, Bishandas, Patenier and Sahibdin as well as contemporary lowbrow artists such as Mark Ryden, Marion Peck and Joe Coleman.
He completed a PhD in Physics (Optics) from Imperial College (London) and then joined the Stuckist art movement and founded the Cambridge Stuckists in 2003. For 13 years Udaiyan took part in many successful shows both in the UK and abroad; receiving international press coverage for his various paintings. In this period he was influenced by the Stuckists including Daniel Pincham-Phipps, Edgeworth Johnstone, Shelly Li, Ella Guru and Charles Thomson as well as his compatriots from the Indian Artists Network: Renu Iyer and Aloke Kumar Paul.
Udaiyan held his first art exhibition as a Stuckist in Marijke Logan's anti-war show in Arizona 2003 and has exhibited in many countries since including Italy, Greece, India, US and Russia. In recent years however, Udaiyan has found that he is once more being drawn back into the spiritual realm and is working with the Aaiyyan World Foundation on a serious of religious paintings depicting his interpretation of the ancient Aaiyyanist scripts that are believed to open dimensions or Lokas into this realm in order to facilitate the transference of spiritual energy.
Udaiyan has worked in various media including oil, acrylic, watercolor and digital, but has now returned to his craft paint to produce his religious works. Each stroke that the artist performs in these religious Aaiyyanist paintings is well thought out and executed. There is a deep underlying spirituality derived from the artist and the work that transcends both geography and cultural differences. Udaiyan is writing a language that is timeless and also immediate - in that the doorways opened up to the dimensions are with us now; close-by but rarely seen.
Udaiyan’s work not only depicts the opening of "The Planes" (Lokas) to this resonant energy but allows it to flow into the viewer - to create within the viewer a place that is deeply silent. So silent and hidden that it will eventually invite a question... and it is not the answer that is important but the question.