Expo Chicago 2022 by Sundaram Tagore Gallery

2022

ANILA QUAYYUM AGHA Anila Quayyum Agha is a Pakistani-American artist who works in a cross-disciplinary fashion with mixed media. She creates artwork that explores global politics, cultural multiplicity, mass media, and social and gender roles. Agha is perhaps best known for her immersive, large-scale light installations in which she laser-cuts elaborate patterns into three-dimensional cubes. Suspended and lit from within, the cubes cast lace-like, floor-to-ceiling shadows that transform the surrounding environment, alluding to the richly ornamented public spaces such as mosques that Agha was excluded from as a female growing up in Lahore. In addition to her suspended light installations, Agha also creates wall-mounted sculptural works, including her Flowers series (2018) that explores love and loss inspired by the mixed emotions she experienced following her son’s wedding and mother’s passing, events that happened in the same year. Although these works may appear decorative, they are imbued with meaning, from the floral patterns that express the beauty and femininity of her mother to the metallic threads commonly used for wedding dresses in Pakistan. The visual elements collectively amplify the interplay between the matrimonial and the funereal, and by extension, the larger cycle of life. To produce these elaborate works, Agha laser-cuts vibrantly hued encaustic paper with intricate patterns and adorns them with light-reflecting embroidery and beads. These exquisitely detailed drawings are framed within shadow boxes, allowing light to pass through the cut-outs and cast patterned shadows in a manner similar to her large-scale light installations. The framing and shadows allow these works to transcend their two-dimensionality. Anila Quayyum Agha received a BFA from the National College of Arts, Lahore, and an MFA from the University of North Texas. Agha’s work has been exhibited in numerous exhibitions including at the Columbia Museum of Art, North Carolina; Peabody Essex Museum, Salem, Massachusetts; National Sculpture Museum, Valladolid, Spain; Dallas Contemporary Art Museum, Texas; Cincinnati Art Museum, Ohio; Grand Rapids Art Museum, Michigan; and the Museum of Contemporary Art, Jacksonville, Florida. Major awards include the Efroymson Contemporary Arts Fellowship, ArtPrize (Juried and Public Vote Grand Prize 2014), Creative Renewal Fellowship and DeHaan Artist of Distinction (Indy Arts Council), Research Scholar Award (Indiana University), Schiele Prize (Cincinnati Art Museum) and the 2019 Painters and Sculptors Grant from the Joan Mitchell Foundation. For the 2019 Venice Biennale, Agha was included in the collateral event She Persists. Her work has been collected by institutions and private collectors nationally and internationally. Born in Lahore, Pakistan, 1965 | Lives and works in Indianapolis, Indiana

Flowers (Black and Gold Cutout Diamond), 2017, mixed media on paper (encaustic gold square stitching and square laser cuts, gold and black beads on black paper), 34 x 30 inches/86.4 x 76.2 cm 5

Liminal, 2021, mirrored stainless steel, 47 x 47 inches/119.4 x 119.4 cm

MIYA ANDO Miya Ando’s paintings, sculptures, and installation artworks have been the subject of recent solo exhibitions at The Asia Society Museum, Houston; The Noguchi Museum, New York; Savannah College of Art and Design Museum, Georgia; The Nassau County Museum, Roslyn Harbor; and The American University Museum, Washington D.C. Her work has also been included in group exhibitions at the Smithsonian American Art Museum, Washington D.C.; Scottsdale Museum of Contemporary Art, Arizona; Los Angeles County Museum of Art; The Haus Der Kunst, Munich; The Bronx Museum; and The Queens Museum of Art, New York. Ando’s work is included in the public collections of the Los Angeles County Museum of Art; The Nassau County Museum; The Corning Museum of Glass; The Detroit Institute of Arts; The Luft Museum; Scottsdale Museum of Contemporary Art; The Santa Barbara Museum of Art; The Museum of Art and History; among other public institutions as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant Award, and has produced numerous public commissions, most notably a thirty-foot-tall sculpture built from World Trade Center steel installed in Olympic Park in London to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation. Ando was also commissioned to create artwork for the historic Philip Johnson Glass House, New Canaan, CT. Ando has a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a master metalsmith in Japan. Born in Los Angles, 1973 | Lives and works in New York

June 5 2020 Night 80 Lockdown (Latitude 40.760131, Longitude -73.980127), 2020, dye, micronized pure silver, pigment, resin and urethane on aluminum, 36 x 48 inches/91.4 x 122 cm 9

Yūgen Rose Gold Lavender, 2016, pigment, urethane and resin on aluminum, 24 x 24 inches/61 x 61 cm Yūgen light vermillion, 2016, pigment, urethane and resin on aluminum, 24 x 24 inches/61 x 61 cm 10

Kasumi February 2.2.6, 2017, dye, pigment, resin and urethane on aluminum, 24 x 24 inches/61 x 61 cm Pink Cloud, 2020, pigment, resin, silver and urethane on stainless steel, 24 x 24 inches/61 x 61 cm 11

Hakanai (Fleeting) Shift 1.20.3.3.1.M.1.2.G.1, 2020, pigment and urethane on aluminum, 36 x 36 inches/91.4 x 91.4 cm

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

Untitled (triptych), 2015, acrylic, pen and varnish on canvas, 70.9 x 53.25 inches/180 x 135 cm 15

Untitled, 2017, acrylic, pen and varnish on canvas, 15.75 x 23.6 inches/40 x 60 cm

KAREN KNORR Through her photographs and videos, American/British 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 photographic series India Song, a body of work that focuses on historic interiors in Rajasthan. Within these lavish rooms—symbolic of wealth and social power structures—Knorr digitally imposes images of live tigers, elephants, peacocks and monkeys, which she photographs 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 the Museum of London, United Kingdom; The Museum of Fine Arts, Houston; San Diego Museum of Photography, California; Kyoto Modern Museum of Art, Japan; Seoul Museum of Art, Korea; and the Minsheng Art Museum, Shanghai. Her work is in the 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; San Francisco Museum of Modern Art, California, 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

The Holding of Vigilance, Samode Palace, 2010, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/22 x 152 cm 19

Love at First Sight, Palazzina Cinese, 2017, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm 20

The Wedding Guests, Belgravia Room, 2015, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 48 x 60 inches/121.9 x 152.4 cm 21

JANE LEE Paint, canvas, frame, orientation and dimension—all are variables in Jane Lee’s hands. Through assiduous processes of layering, mixing, winding, wrapping, kneading, daubing and other acts of physical transformation, the renowned Singaporean artist redefines paint and painting to produce dynamic and bold forms. Operating in a post-colonial Southeast Asian context, Lee re-examines the significance of Western painting practices while asserting her own culture. Pushing the boundaries of the medium, her work echoes the breakdown of cultural barriers in the era of globalization and affirms the universality of contemporary art. Jane Lee has a Bachelor of Fine Arts degree and a Diploma in Fashion from LASALLE College of the Arts in Singapore. Lee has participated in numerous art fairs and exhibitions across the globe. Notable exhibitions include Red States, a critically acclaimed solo exhibition at the Hong Kong Arts Centre in 2018; Meld, a solo Sundaram Tagore Gallery presentation at Art Basel in 2017; and Freely, Freely at the Singapore Tyler Print Institute in 2016, which followed her 2015 residency. Lee’s work Raw Canvas was showcased at the Singapore Biennale 2008, Collectors’ Stage at the Singapore Art Museum in 2011 and in the Southeast Asia Platform, an exhibition of cutting-edge work from across the region at Art Stage Singapore in 2014. The following year, Lee’s work was selected for Prudential Singapore Eye, one of the largest surveys of Singapore’s contemporary art to date, held at the ArtScience Museum and Medium at Large, a year-long exhibition at the Singapore Art Museum, where her large-scale installation Status, 2009, was acquired for the museum’s permanent collection. In 2015, Lee also participated in Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale. Born in Singapore, 1963 | Lives and works in Singapore

Blue Lullaby #2, 2022, acrylic paint, acrylic heavy gel, molding paste on fiberglass, 44 x 12 x 6.5 inches/111 x 31 x 16.5 cm 23

Blue Lullaby #3, 2022, acrylic paint, acrylic heavy gel, molding paste on fiberglass, 20.5 x 18.5 x 5 inches/52 x 47 x 12 cm

ZHENG LU The gravity-defying sculptural works of Zheng Lu, which are installed in public spaces throughout China, 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, often 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 he can shape them 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

Jin Bo (special edition), 2019, stainless steel, 76 x 47.25 x 32.25 inches/193 x 120 x 82 cm 27

UDO NÖGER Udo Nöger creates luminous monochrome paintings that capture light, movement and energy expressed in highly minimalistic compositions. Nöger, who grew up in Enger, in Westphalia, Germany, emigrated to the U.S. in 1990 on a scholarship. In the earlier part of his career, he was known for his expressive figurative paintings that explore the dimensionality of color. These raw, mixed-media works were often populated by mysterious, archaic figures and symbolically charged imagery inspired by his travels. By the mid-nineties, Nöger began to focus his attention exclusively on the interaction between light, space and color, moving away from the more aggressive style of canvasses he was producing in favor of a minimal aesthetic that distilled his concept to its simplest form. His desire to go deeper into his ideas coupled with the boredom he experienced always working on the front of a canvas prompted the artist to go beyond the surface both materially and conceptually. To produce works that appear to emanate light from within, Nöger employs an almost architectural approach. The paintings comprise three layers of canvas mounted on stretchers set at a distance from one another. The interior canvas, from which the artist cuts out simplified biomorphic forms, functions as the pictorial plane. Once the internal composition is complete, the outermost surface is treated with mineral oil to amplify translucency and visually bring the composition underneath to the forefront. The resulting works are subtle and atmospheric, both in the visual nature of the paintings and in how they interact with the surrounding space—the kind of light, the quality of light, even the time of day can impact the viewing experience. While the paintings are rendered in a restrained palette of soft whites and grays, depending on the light that illuminates the work, faint shades of blue, purple and green can emerge. Udo Nöger has exhibited his work extensively across the globe, including at Siegerlandmuseum, Siegen, and the Karl Ernst Osthaus-Museum, Hagen, Germany; Daum Museum of Contemporary Art, Sedalia, Missouri; Museum of Art Honolulu, Hawaii; and the Museum of Contemporary Art, Denver, Colorado. His work is in the permanent collections of The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Denver; Art Institute of Chicago; Bass Museum, Miami; and Haus der Kunst, Munich, among others. Born in Enger, Westfalen, Germany in 1961 | Works between San Diego, Miami and Geneva.

Untitled 5, 2020, mixed media on canvas, 24 x 27 inches/61 x 68.6 cm 29

Untitled, 2020, mixed media on canvas, 27 x 24 inches/69 x 61 cm 30

Zeit - Fliessend 5, 2019, mixed media on canvas, 56 x 40 inches/142.2 x 101.6 cm 31

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, he transformed the paper 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

Kama V, 2008, ink and dye on paper, 55 x 39 inches/140 x 100 cm 33

Uma III, 2008, ink and dye on paper, 55 x 39 inches/139.7 x 99.1 cm

HIROSHI SENJU Japanese-born New York-based 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 elements of traditional Japanese painting. An immersive fluorescent waterfall installation is currently on view at the Art Institute of Chicago. 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 awarded the Foreign Minister’s Commendation from the Japanese government for contributions to art in 2017, and in the same year, 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 monumental waterfalls at Tokyo International Airport (Haneda). The Benesse Art Site of Naoshima Island houses two large-scale installations. The artist’s monumental cliff and waterfall paintings for the Kongobuji Temple at Koyasan—a UNESCO World Heritage Site and sacred Buddhist monument—traveled to museums throughout Japan before being installed in 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. Born in Tokyo, 1958 | Lives and works in New York

Waterfall on Colors, 2021, pigments on Japanese mulberry paper mounted on board, 71.6 x 89.5 inches/182 x 227 cm 37

Falling Water (Byobu Screen), 2013, acrylic and fluorescent pigments on Japanese mulberry paper, 66.1 x 146.5 inches/168 x 372 cm 38

Falling Water (Byobu Screen), 2013, acrylic and fluorescent pigments on Japanese mulberry paper, 66.1 x 146.5 inches/168 x 372 cm 40

Falling Water (Byobu Screen), 2013, acrylic and fluorescent pigments on Japanese mulberry paper, 66.1 x 146.5 inches/168 x 372 cm 41

Waterfall, 2021, platinum and natural pigment on Japanese mulberry paper mounted on board, 35.2 x 57.3 inches/89 x 146 cm

NEHA VEDPATHAK Neha Vedpathak is a Detroit-based artist who creates sculptural installations and wall reliefs made from paper. Although she has only been exhibiting her work since 2006, Vedpathak has already received critical recognition from institutions such as the Detroit Institute of Arts, which acquired and exhibits her work across from work by Anish Kapoor. Vedpathak began her career as a painter, creating minimalist abstract works on canvas. She subsequently sought to move beyond the two-dimensional plane. After experimenting with different materials, in 2009 she began working with handmade Japanese paper, which eventually became the focus of her artistic investigations. Using a rigorous, original technique, which she refers to as “plucking,” Vedpathak spends hours separating the paper’s fibers with a tiny pushpin. There is a distinctly spiritual aspect to her slow and disciplined process, which she likens to meditative chanting tuned to a slower pace. The resulting works resemble swaths of lace, which she paints and sews into striking abstract compositions. Part painting, part collage, Vedpathak’s sensuous, tactile constructions seemingly float while casting intricate shadows on the wall. She creates depth with nuanced shifts of color by leaving small areas of the composition unplucked, which plays off the subtle transparency of the lace-like effect. Having lived in multiple locations, including Pune, India, where she was born, Chicago, Phoenix, and now Detroit, Vedpathak’s practice is deeply inspired by her physical environment and she often draws from the natural world. Recently, however, she has begun to incorporate architectural elements of the cityscape that surrounds her, referencing the abandoned structures and peeling paint of a city in constant flux, where widespread urban decay is undergoing a slow renewal. Neha Vedpathak works have been shown at the National Indo-American Museum, Chicago; Arizona State University Art Museum, Tempe; Weatherspoon Museum, Greensboro North Carolina; Detroit Institute of Arts, Michigan; Flint Institute of Arts, Michigan; and Centre d’Art Marnay Art Centre, France. Born in Pune, India, in 1982 | Lives and works in Detroit, Michigan

Earth, 2020, plucked Japanese handmade paper, acrylic paint, thread, acrylic polymer, 20 x 14 inches/51 x 36 cm 45

Deconstructed Flag, 2017, handmade paper, acrylic paint, thread, 39 x 26 inches/99.1 x 66 cm

SUSAN WEIL Susan Weil (b. 1930) is among the key female figures who pushed the boundaries of Abstract Expressionism, a movement largely defined by male painters. As the narrative of modern art is rewritten and women artists are finally entering the spotlight, Weil’s important contributions are garnering longoverdue recognition. Weil came of age at the centre of the New York School with its eclectic cultural influences and interdisciplinary experimentation. She studied under Josef Albers at Black Mountain College with 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, gaining inspiration from nature, literature, photographs and her personal history, embracing serious and playful elements in her work. Throughout her more than 70-year career, she has focussed on how to represent time, motion and language. She often fractures the picture plane, deconstructing and reconstructing images using a range of materials including collage, blueprint, and paint on recycled canvas, acrylic and wood. Susan Weil’s work was included in the exhibition Frontiers Reimagined at the 56th Venice Biennale. Other notable exhibitions include Bauhaus and America: Experiments in Light and Movement at the LWL-Museum für Kunst und Kultur in Germany, and 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. Her work was also shown in James Joyce: Shut Your Eyes and See at the Poetry Collection, University of 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 in the permanent collections of major institutions worldwide including in The Metropolitan Museum of Art and Museum of Modern Art, New York; Brooklyn Museum, New York; The Victoria and Albert Museum, London; Moderna Museet, Stockholm; Nationalmuseum, Stockholm; Saarland Museum, Saarbrücken, Germany; Asheville Museum, North Carolina; The J. Paul Getty Museum, California; Graphische Sammlung, Munich; The Menil Collection, Houston; The Johnson Collection, Spartanburg, South Carolina; National Academy of Arts and Letters, New York; Harvard University, Houghton Library, Cambridge; and the New York Public Library. 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

Square Cloud, 1969, oil on linen, 49.5 x 36.25 inches/126 x 92 cm 49

CHUN KWANG YOUNG 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. Born in Hongchun, South Korea, in 1944, Chun grew up during the end of Japanese colonization and the brutality of the Korean War. In the early 1970s, he moved to the United States to pursue a Master’s Degree at Philadelphia College of Art, where he was deeply drawn to Abstract Expressionism. “It seemed to be the best way to freely express my surprise and sadness at witnessing the huge gap between idea and reality,” he says. Over time, Chun became disillusioned with the materialistic drive that seemed to fuel the American dream and feelings of loneliness intensified his longing for home. During this period, Chun’s paintings, which explored the effects of light and color, reflected his interest in Abstract Expressionism, however, he ultimately found the expression inauthentic. Chun returned to Korea to focus on developing his own methodology, one that was wholly unique and reflective of his history and cultural identity. The development of Chun’s 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. Over the years, Chun’s Aggregations have become more colorful and evolved in complexity and scale, but the use of mulberry paper remains at the core of his practice. Although imbued with the spirit of Korean tradition and history, Chun’s work, with its intricate, abstract compositions, is grounded in a purely contemporary context. 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. Born 1944 in Hongchun, Korea | Lives in works in Seongnam, Korea

Aggregation 18 - OC060 (Star 6), 2018, mixed media with Korean mulberry paper, 43.25 inches/110 cm tondo 51

Aggregation 11 - MY035 Blue, 2011, mixed media with Korean mulberry paper, 35.4 x 51.6 inches/90 x 131 cm

S U N DAR AM TAG O R E GAL L E R I E S We have been representing established and emerging artists from around the world since 2000. We show work that is aesthetically and intellectually rigorous, infused with humanism and art historically significant. We specialize in paintings, drawings, sculptures and installations with a strong emphasis on materiality. Our artists cross cultural and national boundaries, synthesizing Western visual language with forms, techniques and philosophies from Asia, the Subcontinent and the Middle East. We show this work alongside important work by overlooked women from the New York School. The gallery also has a robust photography program that includes some of the world’s most noted photographers.

NEW YORK Chelsea: 542 West 26th Street, New York, NY 10001 • tel 212 677 4520 gallery@sundaramtagore.com

SINGAPORE 5 Lock Road 01-05, Gillman Barracks, Singapore 108933 • tel 65 6694 3378 singapore@sundaramtagore.com

LONDON 4 Cromwell Place, London, SW7 2JE President and curator: Sundaram Tagore Senior Director, New York: Susan McCaffrey Director, Singapore: Melanie Taylor Director, New York: Kathryn McSweeney Registrar: Julia Occhiogrosso Designer: Russell Whitehead Editorial support: Kieran Doherty

WWW.SU N DARAMTAGOR E.COM Text © 2022 Sundaram Tagore Gallery Photographs © 2022 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.