Sydney Contemporary 2019

SYDNEY CONTEMPORARY CARRIAGEWORKS

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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.

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MIYA ANDO Miya Ando is an American artist known for her metal paintings that encapsulate both ephemerality and permanence. A descendant of Bizen sword makers, Ando spent her childhood among Buddhist priests in a temple in Okayama, Japan, and later, in California. She combines the traditional techniques of her ancestry with modern industrial technology, skillfully transforming sheets of metal into ephemeral, abstract paintings suffused with color. Working across two and three dimensions, Ando’s oeuvre contains abstract painting and sculpture, including large-scale public art pieces that reflect the transitory essence of life.

Miya Ando has a Bachelor of Arts degree in East Asian studies from the University of California, Berkeley, and attended Yale University and Stanford 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 the subject of recent solo exhibitions, including at The Noguchi Museum, New York; Savannah College of Art and Design (SCAD) Museum, Savannah, Georgia; The Nassau County Museum of Art, Roslyn Harbor, New York; and the American University Museum, Washington D.C. Her work has also been included in extensive group exhibitions at institutions such as Los Angeles County Museum of Art (LACMA), California; Bronx Museum and Queens Museum of Art, New York; and The Nassau County Museum of Art, Roslyn Harbor, New York. In 2015, her work was exhibited in Frontiers Reimagined at the 56th Venice Biennale.

Ando is included in the public collections of Los Angeles County Museum of Art (LACMA), Detroit Institute of Arts Museum (DIA), Luft Museum in Germany, as well as numerous private collections. She has been the recipient of several grants and awards, including the prestigious Pollock-Krasner Foundation Grant Award.

Ando has produced several 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 nominated for a DARC Award in Best Light Art Installation, as well as for The Glass House in New Canaan, Connecticut, designed by renowned architect Philip Johnson, which is now a museum and National Historic Landmark.

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Born in Los Angeles, 1973 | Lives and works in New York

Ephemeral Vermillion, 2015, urethane, pigment, and resin on aluminum, 36 x 36 inches/91.4 x 91.4 cm 5

Kasumi December Green Blue, 2017, pigment, resin and urethane on aluminum, 36 x 36 inches/91.4 x 91.4 cm 6

Dark Indigo Silver, 2018, pigment, resin, silver and urethane on aluminum, 72 x 48 inches/183 x 122 cm 7

October Cloud 2.2.3, 2018, ink and dye on aluminum composite, 24 x 24 inches/61 x 61 cm

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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. Notable series include Anthropocene, his newest project, documenting human influence on the state, dynamic and future of the planet, as well as Salt Pans, which examines the ancient methods of extracting this most basic element from the earth.

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, Burtynsky was the subject of the award-winning documentary Manufactured Landscapes, which screened at the Sundance Film Festival. It was followed by Watermark in 2013. His latest film, Anthropocene: The Human Epoch, premieres at the Toronto International Film Festival Sept. 6, 2018. A book titled Anthropocene will also be released in September.

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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Dryland Farming #12, Monegros County, Aragon, Spain, 2010, chromogenic color print, 48 x 64 inches/122 x 162.6 cm 11

Rice Terraces #5, Western Yunnan Province, China, 2012, chromogenic color print, 48 x 64 inches/121.9 x 162.6 cm

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LALLA ESSAYDI Lalla Essaydi was born and raised in Morocco and educated in the West before moving to Saudi Arabia for several years. The United States-based artist explores issues of gender, cross-cultural identity and the prevalent myths of Orientalism. Working across multiple disciplines—including painting, video, installation and photography—Essaydi challenges the social norms and hierarchies that shaped her life as a young girl in Morocco.

In her photographs, Essaydi explores spaces both real and symbolic. Raised in a traditional Muslim household, which included designated areas just for women, Essaydi is intimately familiar with how Arab women’s personal histories are interlinked with segregated spaces. Traditionally in Islamic culture, men move about freely in public spaces, while women are often confined to private realms, away from public view. Over time, physical borders come to define social hierarchies and for women, stepping outside these boundaries, literal or otherwise, can lead to confinement in an actual space. Through her creative practices, Essaydi has come to understand how these longstanding cultural mores have informed her views as an artist and as a woman living between two worlds.

Lalla Essaydi was born in Morocco in 1956 and received a Master of Fine Arts degree from the School of the Museum of Fine Arts at Tufts University in Massachusetts. She has exhibited her work across the globe, including at the Asian Civilisations Museum and the National Museum of Singapore; the Los Angeles County Museum of Art and The San Diego Museum of Art, California; The Museum of Fine Arts, Boston; and the Smithsonian Institution’s Museum of African Art and the National Museum of Women in the Arts, Washington D.C. Her work is in numerous permanent collections, including the Asian Civilisations Museum, Singapore; Musée du Louvre, Paris; the British Museum, London; the National Museum of African Art, Smithsonian Institution, Washington, D.C.; the Art Institute of Chicago; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; and the Mathaf: Arab Museum of Modern Art, Doha.

Born in Morocco, 1956 | Lives and works in New York, Boston and Marrakesh 14

Harem #6, 2009, chromogenic prints mounted to aluminum with a UV protective laminate, 60 x 144 inches/152.4 x 365.8 cm 15

Harem Revisited #53a, 2013, chromogenic print mounted to aluminum with a UV protective laminate, 60 x 48 inches/152.4 x 121.9 cm 16

Les Femmes du Maroc: Reclining Odalisque #2 2008, chromogenic print mounted to aluminum with a UV protective laminate, 30 x 40 inches/76.2 x 101.6 cm 17

GOLNAZ FATHI Drawing on her extensive training as a calligrapher, Golnaz Fathi uses texts and letters as formal elements, transforming traditional calligraphy into a personal artistic language. She studied classical calligraphy before she established her own style of working, receiving a Bachelor of Arts in Graphics from Azad Art University, Tehran, and completing further studies at the Iranian Society of Calligraphy.

Fathi works in fine pen, mostly on varnished raw, rectangular, polyptych canvases, in a limited palette of white, black, red and yellow. She layers the surface of the canvas with thousands of minute marks that echo the curvilinear forms of calligraphic letters and words. These intricate lines coalesce into minimalist compositions that can be read in multiple ways—as landscapes, electronic transmissions or atmospheric phenomena. She refrains from titling her works, which allows the viewer free reign to assign his or her own interpretation.

The basis of Fathi’s practice is siah-mashq, a traditional exercise in which the calligrapher writes cursive letters across the page in a dense, semi-abstract formation. The letters aren’t meant to form words or convey meaning, but rather strengthen the skill of the scribe. Fathi reinterprets this technique, drawing inspiration from Western and Eastern sources, including American Abstract Expressionism, as well as the work of Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. By skillfully combining these various elements, she has created a unique visual language with universal appeal.

Golnaz Fathi’s works are in the permanent collections of The Metropolitan Museum of Art, New York; Brighton & Hove Museum, East Sussex, England; Carnegie Mellon University, Doha; the Islamic Arts Museum Malaysia, Kuala Lumpur; the Asian Civilisations Museum, Singapore; the British Museum, London; the Devi Art Foundation, New Delhi; and The Farjam Collection, Dubai.

In 2011, Fathi was chosen as a Young Global Leader Honoree by the World Economic Forum and in 2015, her painting Every Breaking Wave (1) was included in Frontiers Reimagined, a collateral event of the 56th Venice Biennale.

Born in Tehran, 1972 | Lives and works in Tehran and Paris 18

Untitled, 2016, acrylic on paper, 27.6 x 19.7 inches/70 x 50 cm 19

Untitled, 2017, acrylic on paper, 19.7 x 27.6 inches/50 x 70 cm

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KAREN KNORR Through her photography and videos, American artist Karen Knorr explores the dynamics of power and its influence on cultural heritage, from the patriarchal structures of the English aristocracy to the roles and representations of animals in art.

Born in Frankfurt in 1954 and raised in San Juan, Puerto Rico, Knorr is best known for her seminal photographic series, India Song, a body of work that focuses on the interiors of significant architectural spaces of Rajasthan. Within these lavish rooms—symbolic of wealth and societal power structures—Knorr digitally imposes images of live tigers, elephants, peacocks and monkeys, which she photographed separately in reserves and zoos.

Lush and playful, these vibrantly colorful images appear to be photographic renderings of Indian folklore, in which the line between reality and illusion is blurred. Yet Knorr’s work, which is influenced by surrealism and the mystical realism of Latin America, delves below the surface to consider issues of colonialism, exoticism, appropriation, societal hierarchies, and femininity as it relates to the animal world.

Karen Knorr has exhibited her work at venues such as the Museum of London, United Kingdom; The Museum of Fine Arts, Houston, Texas; San Diego Museum of Photography, California; Multimedia Art Museum, Moscow; Kyoto Modern Museum of Art, Japan; Seoul Museum of Art, Korea; and the Minsheng Art Museum, Shanghai. Her work is in prestigious collections such as Tate London, Victoria and Albert Museum, and the United Kingdom Government Art Collection, England; Musee d’Art Moderne de la Ville de Paris and Centre Georges Pompidou, France; Moderna Museet, Stockholm; Folkwang Museum, Essen, Germany; San Francisco Museum of Modern Art, California; and the National Museum of Modern Art, Kyoto, Japan, among others.

Knorr was awarded the Photography Pilar Citoler Prize in 2010 and she was nominated for the Deutsche Börse in both 2011 and 2012. She also received nominations for the Prix Pictet in 2012 and 2018. As an advocate for women in photography, she was made an Honorary Fellow at the Royal Photographic Society in 2018, as well as Honorary Chair of Women in Photography.

Born in Frankfurt, Germany in 1954 | Lives and works in London 22

Finding Refuge, Junha Mahal Dungarpur, 2013, colour pigment print on HahnemĂźhle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm 23

Sikander’s Entrance, Chandra Mahal, Jaipur City Palace, Jaipur 2013, colour pigment print on Hahnemßhle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm 24

The Peers of the Realm, Entrance Hall, 2015, colour pigment print on HahnemĂźhle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm 25

YAYOI KUSAMA Over a prolific career of more than six decades, Yayoi Kusama has worked in a variety of media including painting, sculpture, drawing, installation, performance and film. Best known for her Infinity Nets—dense, repetitive proliferations of thick dots and loops upon canvas and sculpture— Kusama studied nihonga painting in Japan prior to moving to New York City in 1958. It was in the thriving environment of the city’s postwar international art scene that she produced the first of her Net paintings.

Kusama’s monochrome paintings on canvas measured more than thirty-feet wide and enveloped viewers not only with their sheer scale but also with the obsessive and hypnotic network of dots. These paintings also suggested a void beneath the surface of dots, drawing on a recurring philosophical theme in Kusama’s work that questions the line between illusion and reality, infinity and limitations. Her early paintings were groundbreaking, impressing critics such as Lucy Lippard and inspiring artists including Donald Judd, Eva Hesse and Joseph Cornell. They served as a harbinger for both her signature style and for the Minimalist movement that was to dominate the New York art world, establishing Kusama as a truly original artist.

Having suffered from hallucinations in which the world appears covered in vivid nets and dots, Kusama’s work is also rooted in this persisting psychological trauma (since 1977 Kusama has willingly lived in a psychiatric institution in Japan), serving as both inspiration and outlet. Kusama went on to incorporate the dots motif with striking bodies of work, from soft-sculpture phallic forms to provocative art “happenings” staged across New York City and from rooms made up of mirrored walls to monumental outdoor pumpkin sculptures.

Yayoi Kusama’s work is in the collection of museums worldwide, including the Museum of Modern Art, New York; Tate Modern, London; the National Museum of Modern Art, Tokyo; the Los Angeles County Museum of Art; and the Centre Pompidou, Paris. Major outdoor sculptures have been commissioned for both public and private institutions including the Benesse Art Site of Naoshima, the Fukuoka Municipal Museum of Art and the Matsumoto City Museum of Art, Japan; Lille Europe train station, France; Pyeonghwa Park, South Korea; and Beverly Gardens Park, California.

Born in Matsumoto City, Japan, 1929 | Lives and works in Tokyo 26

Infinity Dots, 1990, acrylic on canvas, 20.9 x 17.9 inches/53 x 45.5 cm 27

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.

Born in Chi Feng, Inner Mongolia, 1978 | Lives and works in Beijing

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Yan Fei, 2019, stainless steel, 29.9 x 25.6 x 43.3 inches/76 x 65 x 110 cm 29

Jin Bo, 2017, stainless steel, 69.7 x 31.5 x 44.9 inches/177 x 80 x 114 cm

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JASON MARTIN Jason Martin creates lush, sculptural paintings by building up thick applications of paint, transforming two-dimensional canvases into otherworldly terrains.

Dividing his time between London and Portugal, Martin explores the rudiments of painting through purely abstract compositions, which he produces by layering swaths of oil or acrylic paint across metal or Plexiglas substrates. Once he applies the paint, he pulls a comblike tool through the surface in one motion—gestural but controlled—to produce opulent, rolling waves of color, which catch and reflect the light. Martin’s process-based approach to examining the materiality of a painting alludes to the influence of American artists such as David Budd and Robert Ryman.

In exploring the properties of accumulated paint, Martin uses varying quantities, depending on the piece. Some of his works are coated in modest applications of paint, resulting in rhythmic striations that echo the fine grooves of a vinyl record, while others are layered so thickly the heavy impasto juts out from the frame constituting low reliefs. He tends to work with limited palettes, although even his monochrome paintings, densely layered in pure pigment, reveal nuanced shifts in tone and modulated color as the light negotiates the complex topography of ridges and channels.

Jason Martin studied at Goldsmiths, University of London, and began to exhibit his work in the early 1990s. Since then, he has shown his work across the globe, including at the Brooklyn Museum of Art; the Las Vegas Art Museum; the Denver Art Museum, Colorado; Museum gegenstandsfreier Kunst, Otterndorf, Germany; Sinaloa Art Museum, Mexico; the Espoo Museum of Modern Art, Finland; and the Stedelijk Museum Amsterdam. His work is in the collections of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Birmingham Museum and Art Gallery, England; the Museum of Contemporary Art, Salzburg; the Museum of Modern Art, La Spezia, Italy; and Es Baluard Museum, Palma de Mallorca, Spain.

Born in 1970 in Jersey, Channel Islands | Lives and works in London and Melides, Portugal 32

Untitled (Deep Magenta/Violet Deep), 2018, oil on aluminum, 26.8 x 22.8 x 3.1 inches/68 x 58 x 8 cm 33

As yet untitled, 2019, oil on aluminum, 26.8 x 22.8 x 3.1 inches/68 x 58 x 8 cm

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RICARDO MAZAL Ricardo Mazal, one of Mexico’s most prominent contemporary artists, is known for his lush abstract oil paintings in which he explores spiritual themes.

He is perhaps best known for his near decade-long investigations into the sacred burial rituals of diverse cultures, from the Mayan tomb of The Red Queen in Palenque, Chiapas, Mexico, to the Buddhist prayer flags of Bhutan. These studies yielded a succession of large, multidisciplinary bodies of work reflective of the artist’s observations. However, his most recent series, Violeta and Prague, are imbued with a more personal narrative, increasingly transitioning Mazal from witness to author.

Ricardo Mazal has exhibited extensively in galleries and museums throughout the Americas, Asia and Europe. Since 2000, he has had fourteen individual museum exhibitions in Mexico and the United States, including five retrospectives of his work at the Museo de Arte Contemporaneo de Monterrey (2000), the Museo de Arte Moderno de la Ciudad de México (2006), the Museo de Arte de Querétaro (2009), the Museo de Arte Abstracto Manuel Felguerez (2010) and the Center for Contemporary Arts Santa Fe, as well as thematic exhibitions in the Scottsdale Museum of Contemporary Art (2006), the Museo Nacional de Antropología (2004-2005) and the Centro Cultural Estación Indianilla, among others. In 2015 Mazal’s work was included in Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale.

Mazal’s work is included in the permanent collections of The Minneapolis Institute of Art, Minnesota; Scottsdale Museum of Contemporary Art, Arizona; Museo de Arte Moderno, Mexico City; Museo de Arte Abstracto Manuel Felguérez, Zacatecas, Mexico; Maeght Foundation, Paris; Centro de las Artes, Monterrey, Mexico; Cirque du Soleil, Montreal; the Peninsula Hotel, Shanghai; and Deutsche Bank, New York and Germany.

Born in Mexico City, 1950 | Lives and works in Santa Fe, New Mexico and New York 36

SP Black 1, 2019, oil on linen, 77 x 113 inches/195.6 x 287 cm 37

Untitled White 6, 2018, oil on linen, 48 x 64 inches/121.9 x 162.6 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-year-old nihonga style of painting, using pigments made from minerals, ground stone, shell and corals suspended in animal-hide glue.

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 Juko-in, a sub-temple of Daitoku-ji, 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.

Most recently, Senju completed two monumental paintings for Kongobuji Temple at Koyasan.

The temple is a sacred site in Japanese Buddhism and the works—a waterfall and a cliff—were commissioned to celebrate Koyasan’s 1,200th anniversary. Ahead of the dedication at Kongobuji, the paintings will be on view in several major museums throughout Japan until they are installed as fusuma (sliding doors) in the summer of 2020.

Senju’s work is in The Metropolitan Museum of Art and Brooklyn Museum, New York; the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles; the Asian Art Museum, San Francisco; the Nelson-Atkins Museum of Art, Kansas City, Missouri; the Royal Ontario Museum, Toronto; 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 Karuizawa in Japan opened in 2011.

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Born in Tokyo, 1958 | Lives and works in New York

At World’s End #6, 2017, acrylic and natural pigments on Japanese mulberry paper mounted on board, 76.3 x 102 inches/193.8 x 259.1 cm 41

Waterfall, 2018, acrylic and natural pigments on Japanese mulberry paper mounted on board, 55.1 x 50 inches/140 x 127 cm 42

Waterfall, 2018, natural and acrylic pigments on Japanese mulberry paper, 63.8 x 63.8 inches/162 x 162 cm 43

CHUN KWANG YOUNG Korean artist Chun Kwang Young incorporates elements of both painting and sculpture in his practice. He is best known for his acclaimed Aggregation series: freestanding and wall-hung amalgamations of small, triangular forms wrapped in antique mulberry paper, often tinted with teas or pigment. The development of his signature technique was sparked by childhood memories of seeing medicinal herbs wrapped in mulberry paper, tied into small packages and hung from the ceiling of the local doctor’s office. He became intrigued with the idea of merging the techniques, materials and 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.

Kwang Young Chun: Aggregations, a major retrospective of the artist’s work, is on view at the Brooklyn Museum through July 2019.

Born in Hongchun, Korea, 1944 | Lives in works in Seongnam, Korea

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Aggregation 10 - JL020 Red, 2010, mixed media with Korean mulberry paper, 44.9 x 76.8 inches/114 x 195 cm 45

Aggregation 15 - MY028, 2015, mixed media with Korean mulberry paper, 74 x 63.4 inches/188 x 161 cm 46

Aggregation 17 - NV093, 2017, mixed media with Korean mulberry paper, 73.2 x 60.2 inches/186 x 153 cm 47

Aggregation 15 - SE054, 2015, mixed media with Korean mulberry paper, 36.2 x 46.5 inches/92 x 118 cm

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SUNDARAM TAGORE GALLERIES 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, Singapore: Melanie Taylor Registrar: Julia Occhiogrosso Designer: Russell Whitehead Editor: Kieran Doherty

WWW.SUNDARAMTAGORE.COM Text © 2019 Sundaram Tagore Gallery Photographs © 2019 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.