GALLERY MISSION Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. With spaces in Hong Kong, Singapore and New York City (in Chelsea and on Madison Avenue), the gallery was the first to focus exclusively on the rise of globalization in contemporary art. The gallery represents painters, sculptors and photographers from around the world. They each work in different mediums and use diverse techniques, but share a passion for cross-cultural dialogue. The gallery is renowned for its support of cultural activities—including poetry readings, book launches, music performances and film screenings—that further its mission of East-West exchange.
MIYA ANDO A descendant of Bizen sword makers, New York-based artist Miya Ando spent her childhood among Buddhist priests in a temple in Okayama, Japan, and later, in California. Best known for her sublime metal paintings, Ando combines the traditional techniques of her ancestry with modern industrial technology, skillfully transforming sheets of metal into ephemeral, abstract paintings suffused with color. The focus of Ando’s artistic practice is the intrinsic connection between the human sphere and the natural world. “My interest is in creating work that allows viewers to experience a relationship to nature and to be truly in the moment as they encounter the transitory qualities of light,” Ando says. “I want to draw people into a slowed-down environment with work that is experiential and employs the visual vocabulary of natural phenomena and transformation.” Transformation—both in the physical and the metaphysical sense—is the unifying element in all of Ando’s work. To produce the light-reflecting gradients on her metal paintings, Ando applies heat, sandpaper, grinders, acid and patinas to the metal canvases, irrevocably altering the material’s chemical properties. It’s by an almost meditative daily repetition of these techniques that Ando is able to subtract, reduce and distill her concept until it reaches its simplest form. The resulting works explore the duality of metal and its ability to convey strength and permanence, yet in the same instance, capture the fleetingness of light and the transitory nature of all things. Miya Ando has a Bachelor of Arts degree in East Asian Studies from the University of California, Berkeley, and attended Yale University to study Buddhist iconography and imagery. She apprenticed with the master metalsmith Hattori Studio in Japan, followed by a residency at Northern California’s Public Art Academy. Her work has been shown worldwide, including at the de Saisset Museum, Santa Clara University, California; in a show curated by Nat Trotman of the Guggenheim Museum; and in an exhibition at the Queens Museum, New York. In 2015, a largescale installation, Emptiness the Sky (Shou-Sugi-Ban), was included in Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale. Miya Ando has produced numerous public commissions, most notably a thirty-foot-tall sculpture in London built from World Trade Center steel to mark the ten-year anniversary of 9/11, for which she was recently nominated for a DARC Award in Best Light Art Installation. Awards include the Pollock-Krasner Foundation Grant, 2012. Born in Los Angeles, 1973 | Lives and works in New York 4
Shiki 2 #3, 2015, pigment, urethane, dye and resin on aluminum, 12 x 12 inches/30.5 x 30.5 cm 5
Copper Bronze, 2017, pigment, urethane, dye and resin on aluminum, 36 x 36 inches/91.5 x 91.5 cm 6
Shiki 2 #28, 2015, pigment, urethane, dye and resin on aluminum, 12 x 12 inches/30.5 x 30.5 cm 7
Grey Blue Mandala, 2017, dye, pigment, resin and urethane on stainless steel, 40 inches/101.6 cm
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YĹŤgen Blue Green, 2016, pigment, resin and urethane on aluminum, 48 x 48 inches/122 x 122 cm 10
Hamon 2.4.5, 2016, pigment and urethane on aluminum, 24 x 48 inches/61 x 122 cm 11
Shiki 2 #42, 2015, pigment, urethane, dye and resin on aluminum, 12 x 12 inches/30.5 x 30.5 cm 12
Shiki 2 #27, 2015, pigment, urethane, dye and resin on aluminum, 12 x 12 inches/30.5 x 30.5 cm 13
Kasumi Mist 4, 2017, pigment, urethane, dye and resin on aluminum, 36 x 36 inches/91.5 x 91.5 cm 14
Kasumi Mist 5, 2017, pigment, urethane, dye and resin on aluminum, 40 x 40 inches/101.6 x 101.6 cm 15
Kasumi Mist 63.37.1, 2017, pigment, urethane, dye and resin on aluminum, 63 x 37 inches/160 x 94 cm
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ALFR E DO & I SAB E L AQU I LI ZAN The husband-and-wife team of Alfredo and Isabel Aquilizan, who emigrated from the Philippines to Australia in 2006, addresses themes of displacement, change, memory and community. Their large-scale installations often reflect their own migratory experiences, while conveying points of exchange and communication that extend beyond borders. The duo focuses on both individual narratives, as well as on relationships with the “other� in a new environment. They often collaborate with young people and migrants. For the 2009 Asia Pacific Triennial of Contemporary Art, the Aquilizans produced an enormous suspended sculpture titled In-Flight (Project Another Country). The work comprised hundreds of tiny planes made by hand from found objects by children and adults during the course of the exhibition. The lyrical sculpture Wings III, made of used rubber slippers, echoes similar themes of journey and a bittersweet desire for a new life. The Aquilizans have shown their work at The Drawing Room, Manila; the Venice Biennale, 2003 and 2015; the 5th Gwangju Biennale, 2004; the 15th Biennale of Sydney, 2006; the Singapore Biennale 2008; the Liverpool Biennial 2010 held at Tate Liverpool; and the Sharjah Biennial 11, 2013. Alfredo Aquilizan, born in Cagayan Valley, Philippines, 1962 and Isabel Aquilizan, born in Manila, 1965 | Live and work in Brisbane
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Transformers I (Spakol-Bukol), 2010, stainless steel, Jeep parts and LED lights, 60 x 68 x 13 inches/152.4 x 172.7 x 33 cm 19
EDWARD BURTYNSKY Photographer Edward Burtynsky chronicles human impact on nature in his disarmingly beautiful images of industrial landscapes around the world. Burtynsky’s painterly, often abstract photographs, frequently shot from an aerial perspective, show the massive scale of environmental devastation. Burtynsky began photographing nature in the early 1980s. His early works were intimate explorations of Canada’s unspoiled landscapes. By the late 1980s, however, he turned away from the quickly disappearing natural terrain, realizing that this was the world we were losing not the one we were to inherit. Instead, he began to investigate industrial incursions into land with arresting results. His most recent series, Water, begun in 2007, is his largest and most ambitious project to date. It documents the scale and impact of manufacturing and human consumption on the world’s water supplies. In 2015, Colorado River Delta #2, one of the works from this series, was included in Frontiers Reimagined, a collateral event of the 56th Venice Biennale. Edward Burtynsky was recognized with a TED Prize in 2005. In 2006 he was named an Officer of the Order of Canada, one of the nation’s highest civilian honors. He holds six honorary doctorate degrees and his distinctions include the National Magazine Award, the MOCCA Award, the Outreach Award at the Rencontres d’Arles and the Applied Arts Magazine Complete Book Photography Award. In 2006, Edward Burtynsky was the subject of the award-winning documentary Manufactured Landscapes, which screened at the Sundance Film Festival. His newest film, Watermark, debuted in 2013. Edward Burtynsky’s works are in the collections of more than fifty museums worldwide, including the Solomon R. Guggenheim Museum and The Museum of Modern Art, New York; the AlbrightKnox Art Gallery, Buffalo, New York; the Bibliothèque Nationale, Paris; The Photographer’s Gallery and the Victoria and Albert Museum, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the National Gallery of Canada, Ottawa. Born in St. Catharines, Ontario, Canada, 1955 | Lives and works in Toronto
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Bao Steel #7, Shanghai, 2005, chromogenic color print, 39 x 49 inches/99 x 124.5 cm, edition 9 of 9 21
Dryland Farming #12, Monegros County, Aragon, Spain, 2010, chromogenic color print, 48 x 64 inches/122 x 162.6 cm, edition 2 of 6
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KAMOLPAN CHOTVICHAI Kamolpan Chotvichai addresses issues of identity and gender in her photo-based self-portraits. At the same time, she challenges the formal limitations of paper and canvas by meticulously handcutting her images, creating sinuous ribbons along various parts of her anatomy. Her goal is to dissolve her form, based on an understanding of the Buddhist teachings of the three characteristics of existence: anatta (the eternal substance that exists beyond the physical self); dukkha (sorrow and dissatisfaction); and anicca (impermanence). She obliterates her identity, eliminating her face and literally stripping away her physical form, in the process relinquishing attachment to her body. The artist received a Master of Fine Arts degree at Silpakorn University, Bangkok, and has since been awarded numerous scholarships and art prizes. Kamolpan Chotvichai was invited to participate in ON PAPER, a paper art workshop that was part of the ON PAPER—Paper & Nature exhibition at Tama Art University Museum, Tokyo. Group shows include Anthropos: Navigating Human Depth in Thai and Singapore Contemporary Art, Sundaram Tagore Gallery, Singapore and New York, 2013; the 4th Young Artists Talent Art Exhibition 2013, Royal Thai Consulate-General, Los Angeles; the 2012 International Women Arts Exhibition, Lights of Women, Gwangju Museum of Art Kum Namro Wing, Metro Gallery, Korea; and Frontiers Reimagined, a Collateral Event of the Venice Biennale, 2015. Chotvichai was a featured artist in Thailand Eye at the Saatchi Gallery, London, which closed in January 2016. She has had two solo exhibitions on view at Sundaram Tagore Gallery in Chelsea and Singapore. Born in Bangkok, 1986 | Lives and works in Bangkok
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Rupa (Body), 2015, C-type print and hand-cut canvas, 27.2 x 37 inches/69 x 94 cm 25
ZHENG LU The gravity-defying sculptural works of Zheng Lu are deeply influenced by his study of traditional Chinese calligraphy, an art form he practiced growing up in a literary family. Zheng Lu uses language as a pictorial element, inscribing the surface of his stainless-steel sculptures with thousands of Chinese characters derived from texts and poems of historical significance. To create his metal sculptures, the artist begins with a plaster base. He then laser-cuts characters into metal, and in a fashion similar to linking chainmail, uses heat to connect the pictographs so that they can be shaped to the support. The resulting works are technically astonishing; their fluid, animated forms are charged with the energy (qi) of the universe, belying their steel composite. Zheng Lu graduated from Lu Xun Fine Art Academy, Shenyang, with a Bachelor of Fine Arts degree in sculpture in 2003. In 2007, he received his Master of Fine Arts degree in sculpture from the Central Academy of Fine Art, Beijing, while also attending an advanced study program at the École Nationale Supérieure des Beaux-arts in Paris. Zheng Lu has participated in numerous exhibitions in China and abroad, including at the Museum on the Seam, Jerusalem; the Ekaterina Cultural Foundation, Moscow; Musée Océanographique, Monaco; Musée Maillol, Paris; the National Museum of China, Beijing; the Long Museum and the Shanghai Duolun Museum of Modern Art, Shanghai. In 2015, the artist had a solo exhibition at the Museum of Contemporary Art, Taipei, one of the leading institutions in the region. His most recent large-scale solo exhibition, titled Re-sist-ance, was on view at the Long Museum in Shanghai in 2016. Born in Chi Feng, Inner Mongolia, 1978 | Lives and works in Beijing
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Insubstantiality No. 2, 2017, lightbox, image, convex lens and glass, 49 x 49 x 3.5 inches/124.5 x 124.5 x 8.9 cm, edition 1 of 3 27
Water in Dripping - Xi, 2017, stainless steel, 42 x 48 x 24 inches/106.7 x 122 x 61 cm 28
Water in Dripping - Peng, 2017, stainless steel, 62 x 70 x 43 inches/157.5 x 177.8 x 109.2 cm 29
RICARDO MAZAL Ricardo Mazal explores themes of life, death, transformation and regeneration through a multidisciplinary approach to painting that often includes photography and digital technology. The artist’s most recent body of work, Violet, is a series of highly distilled color studies that amplify his longstanding process of reduction, focusing on a singular subject in what is his most refined—and personal—presentation to date. Mazal’s previous studies include a large body of multidisciplinary work inspired by investigations into sacred burial rituals. His next series was inspired by the colorful, billowing prayer flags of Bhutan. With each investigation, Mazal has honed his vision, reducing and distilling his concepts to their simplest form. Ricardo Mazal’s work is included in the collections of the Scottsdale Museum of Contemporary Art, Arizona; Museo de Arte Moderno, Mexico City; Museo de Arte Abstracto Manuel Felguérez, Zacatecas, Mexico; Maeght Foundation, Saint-Paul-de-Vence, France; and Deutsche Bank, New York and Germany. In 2006, a retrospective of his work was held at the Museo de Arte Moderno, Mexico City. In 2015, the artist’s work was included in Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale and he had his second solo show at Mexico City’s Centro Cultural Estación Indianilla. Born in Mexico City, 1950 | Lives and works in Santa Fe, New Mexico and New York
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Violet and Violet Blue 1, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 31
Violet Blue and Black 1, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 32
Split Violet Blue 1, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 33
Red and Violet Blue 1, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 34
Violet and Black 1, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 35
Violet Red 2, 2016, oil on linen, 23 x 24 inches/58.4 x 61 cm 36
White Over Violet 5, 2017, oil on linen, 23 x 24 inches/58.4 x 61 cm 37
Black Mountain MK 11, 2014, oil on linen, 40 x 42 inches/101.6 x 106.7 cm
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Enero 4.10, 2010, oil on linen, 40 x 60 inches/102 x 152 cm 40
Enero 7.10, 2010, oil on linen, 40 x 60 inches/102 x 152 cm 41
SOHAN QADRI The late artist, poet and Tantric guru Sohan Qadri was one of the few modern painters of note deeply engaged with spirituality. He abandoned representation early on, incorporating Tantric symbolism and philosophy into his vibrantly colored minimalist works. He began his process by covering the surface of heavy paper with structural effects by soaking it in liquid and carving it in stages with sharp tools while applying inks and dyes. As a result, the paper was transformed from a flat surface into a three-dimensional medium. The repetition of careful incisions on the paper was an integral part of his meditation. Having lived and worked in more than a dozen countries, Qadri was one of India’s many post-Independence artists who formed a sprawling diaspora. He once said, “I did not want to confine myself to one place, nation and community….My approach to life has been universal, and so is my art.” Qadri was initiated into yogic practice at age seven in India, his birthplace. In 1965, he left India and began a series of travels that took him to East Africa, North America and Europe. After settling in Copenhagen in the 1970s, Qadri participated in more than forty solo shows, in Mumbai, Vienna, Brussels, London, Oslo, Stockholm, Montreal, Toronto, Los Angeles and New York. Sohan Qadri’s works are included in the British Museum, London; the Peabody Essex Museum, Massachusetts; the Rubin Museum of Art, New York; the National Gallery of Modern Art, New Delhi; the Los Angeles County Museum of Art; the Royal Ontario Museum, Toronto; as well as the private collections of Cirque du Soleil, Heinrich Böll and Dr. Robert Thurman. In 2011, Skira Editore published the monograph Sohan Qadri: The Seer. Born in Chachoki, Punjab, India, 1932; died 2011 | Lived and worked in Copenhagen and Toronto
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Priya, 2010, ink and dye on paper, 39 x 27.5 inches/99.1 x 69.9 cm 43
Agamas III, 2008, ink and dye on paper, 55 x 39 inches/139.7 x 99.1 cm 44
Puja V, 2010, ink and dye on paper, 55 x 39 inches/139.7 x 99.1 cm 45
SEBASTIÃO SALGADO Sebastião Salgado was born in 1944 in Brazil. He lives in Paris, France. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with several photo agencies including Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas Images, created exclusively for his work. Salgado has traveled to more than 100 countries for his photographic projects. Beyond press publications, his work has been presented in books such as Other Americas (1986), Sahel: l’homme en détresse (1986), Sahel: el fin del camino (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), Africa (2007), Genesis (2013) and The Scent of a Dream (2015). Touring exhibitions of this work have been, and continue to be, presented throughout the world. In 2013 the book De ma terre à la Terre (From my land to the planet), a narrative account of Salgado’s life and career, was published, and in 2014, the documentary film The Salt of the Earth, directed by Wim Wenders and Juliano Ribeiro Salgado, was released. Sebastião Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments. He is a UNICEF Goodwill Ambassador, and among other distinctions, an honorary member of the American Academy of Arts and Sciences. In April 2016, Salgado was elected member of the Académie des Beaux-Arts of the Institut de France, for the seat previously occupied by Lucien Clergue. In July 2016, he was named Chevalier (Knight) de la Légion d’Honneur, France. Together, Lélia and Sebastião have worked since the 1990s on the restoration of a small part of the Atlantic Forest in the state of Minas Gerais in Brazil. In 1998 they succeeded in turning this land into a nature reserve and created the Instituto Terra. The Instituto is dedicated to a mission of reforestation, conservation and environmental education. Born in Aimorés, Minas Gerais, Brazil, 1944 | Lives and works in Paris
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Iceberg between Paulet Island and the South Shetland Islands in the Weddell Sea, Antarctic Peninsula, 2005, gelatin silver print, 36 x 50 inches/92 x 127 cm 47
Southern Right Whales, ValdĂŠs Peninsula, Argentina, 2004, gelatin silver print, 36 x 50 inches/91.5 x 127 cm
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HIROSHI SENJU Japanese-born painter Hiroshi Senju is noted worldwide for his sublime waterfall and cliff images, which are often monumental in scale. He combines a minimalist visual language rooted in Abstract Expressionism with ancient painting techniques unique to Japan. Senju is widely recognized as one of the few contemporary masters of the thousand-yearold nihonga style of painting, using pigments made from minerals, ground stone, shell and corals suspended in animal-hide glue. Evoking a deep sense of calm, his waterfalls, which he creates with incredible delicacy by pouring paint onto mulberry paper on board, conjure not only the appearance of rushing water, but its sound, smell and feel. Hiroshi Senju was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995), and has participated in numerous exhibitions including The New Way of Tea, curated by Alexandra Munroe, at the Japan Society and the Asia Society in New York, 2002; Paintings on Fusuma at the Tokyo National Museum, 2003; and Frontiers Reimagined at the Venice Biennale, 2015. He was recently awarded the Foreign Minister’s Commendation from the Japanese government for contributions to art. In May 2017 he was honored with the Isamu Noguchi Award. Public installations include seventy-seven murals at Jukoin, a sub-temple of Daitokuji, a Zen Buddhist temple in Japan, and a monumental waterfall at Haneda Airport in Tokyo. The Benesse Art Site of Naoshima Island also houses two large-scale installations. Senju’s work is in the Metropolitan Museum of Art; Brooklyn Museum; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, Toyama, Japan; the Yamatane Museum of Art, Tokyo; Tokyo University of the Arts; and the Kushiro Art Museum, Hokkaido. In 2009, Skira Editore published a monograph of his work titled Hiroshi Senju. The Hiroshi Senju Museum opened in 2011 in Karuizawa, Japan. Born in Tokyo, 1958 | Lives and works in New York 50
Waterfall, 2013, natural, acrylic pigments on Japanese mulberry paper, 50.4 x 74.8 inches/178 x 190 cm 51
Waterfall, 2016, acrylic and fluorescent pigments on Japanese mulberry paper, 39.4 x 39.4 inches/100 x 100 cm
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SUSAN WEIL Coming of age at the center of the New York School with its eclectic cultural influences and interdisciplinary experimentation, Susan Weil studied under Josef Albers at Black Mountain College. Her peers included Willem and Elaine de Kooning, Jasper Johns, Robert Rauschenberg and Cy Twombly. But unlike her contemporaries, Weil has never been afraid to pursue figuration and reference reality, drawing inspiration from nature, literature, photographs and her personal history, embracing both serious and playful elements in her work. Over the years, she cultivated strong interests in the great modern Irish author James Joyce, the Persian poet Rumi and the pioneering English-American photographer Eadweard Muybridge. Weil also studied in Paris and has exhibited in Sweden and Germany. Otherwise, however, she says, “I don’t travel a lot, but I travel in my mind.” She concludes: “I stand on a Susan spot. The world and the art world shift and change around me. I also deepen and build. It is a special perspective to watch this double cycling.” In 2015, Susan Weil’s work was included in the exhibition Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale. Other notable recent exhibitions include Leap Before You Look: Black Mountain College 1933–1957, which premiered in 2015 at the Institute of Contemporary Art, Boston, and then traveled to the Hammer Museum, Los Angeles, and the Wexner Center for the Arts at Ohio State University, Columbus. The show was named one of the top ten museum shows of 2016 by the Los Angeles Times. A solo exhibition of her work was recently on view in James Joyce: Shut Your Eyes and See at the Poetry Collection, University at Buffalo, New York. Weil is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship and a National Endowment for the Arts Fellowship. Her work is included in the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Victoria & Albert Museum, London; the J. Paul Getty Museum, Los Angeles; Nationalmuseum, Stockholm; Helsinki Art Museum; and Museo Nacional Centro de Arte Reina Sofía, Madrid. In 2010, Skira Editore published Susan Weil: Moving Pictures, a comprehensive monograph documenting her large and diverse body of art, livres d’artiste and poetry. Born in New York in 1930 | Lives and works in New York 54
Deep, 2017, archival inkjet print on paper mounted on engraved and painted panels, 38 x 18 x 4 inches/96.5 x 45.7 x 10.2 cm 55
Sitting in Space, 2017, engraved panels, 38 x 18 x 3.5 inches/96.5 x 45.7 x 8.9 cm 56
Awing, 2017, engraved panels, 38 x 18 x 3.5 inches/96.5 x 45.7 x 8.9 cm 57
Swimmers, 2012, acrylic on canvas, 30 x 30 inches/76.2 x 76.2 cm 58
Sprung, 2017, paint on plywood and canvas panels, 56 x 65.9 x 3 inches/142.3 x 167.4 x 7.6 cm 59
CHUN KWANG YOUNG Chun Kwang Young began his career as a painter. He began to experiment with paper sculpture in the mid-1990s and over time his work has evolved in complexity and scale. The development of his signature technique was sparked by a childhood memory of seeing medicinal herbs wrapped in mulberry paper tied into small packages. Chun’s work subtly merges the techniques, materials, and traditional sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education. Chun Kwang Young received a Bachelor of Fine Arts degree from Hongik University, Seoul and a Master of Fine Arts from the Philadelphia College of Art, Pennsylvania. His work is in numerous public collections, including the Rockefeller Foundation and the United Nations, New York; the Woodrow Wilson International Center for Scholars, Washington, D.C.; the Philadelphia Society Building, Pennsylvania; the National Museum of Modern and Contemporary Art, Seoul, and the Seoul Museum of Art; the National Gallery of Australia, Canberra; the Victoria and Albert Museum, London; and the National Museum of Fine Arts, Malta. He was named Artist of the Year by the National Museum of Modern and Contemporary Art, Seoul, in 2001 and in 2009 he was awarded the Presidential Prize in the 41st Korean Culture and Art Prize by the Ministry of Culture, Sports and Tourism. Born 1944 in Hongchun, Korea | Lives in works in Seongnam, Korea
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Aggregation 07 - A133, 2007, mixed media with Korean mulberry paper, 68.9 x 57.1 inches/175 x 145 cm 61
Aggregation 15 - JL035, 2015, mixed media with Korean mulberry paper, 72 x 61.4 inches/183 x 156 cm 62
Aggregation 17 - FE009, 2017, mixed media with Korean mulberry paper, 72.8 x 61.4 inches/185 x 156 cm 63
S U N D A R A M TA G O R E G A L L E R I E S new york new york hong kong singapore
547 West 27th Street, New York, NY 10001 • tel 212 677 4520 • gallery@sundaramtagore.com 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 4/F, 57-59 Hollywood Road, Central, Hong Kong • tel 852 2581 9678 • hongkong@sundaramtagore.com 5 Lock Road 01-05, Gillman Barracks, Singapore 108933 • tel 65 6694 3378 • singapore@sundaramtagore.com
President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Sales director, Singapore: Melanie Taylor Registrar: Julia Occhiogrosso Designer: Russell Whitehead Contributing editor: Kieran Doherty
W W W. S U N D A R A M TA G O R E . C O M Text © 2017 Sundaram Tagore Gallery Photographs © 2017 Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.