IN CONVERSATION HISTORIC AND RECENT WORK BY WOMEN

IN CONVERSATION HISTORIC AND RECENT WORK BY WOMEN

We are pleased to present paintings, sculpture and photography by pioneering women whose creative contributions have shaped the gallery in meaningful ways. With work that spans more than seventy years, the exhibition includes longtime gallery artists and the next generation of women who we have added to our programming more recently.

“The gallery has a long history of championing women,” says Sundaram Tagore. “From our earliest days in SoHo, we represented extremely talented women from the New York School who had been overshadowed by their male peers, including Susan Weil (b.1930), a gifted American artist who had a major influence on Robert Rauschenberg’s oeuvre. We sought to challenge prevailing beliefs at the time that Western men were making the most collectible art.”

This exhibition highlights work from the gallery’s archives, including Weil’s 1949 paper collage Secrets, which was included in MoMA’s 2017 retrospective Robert Rauschenberg: Among Friends and Leap Before You Look: Black Mountain College 1933–1957 in 2016.

The collage is made from bits of paper torn from the artist’s journal and arranged into an illegible composition. When hung in proximity to a vanity fabricated from razor blades by Bangladeshi artist Tayeba Begum Lipi (b.1969), it sparks a conversation about women’s private spaces and the secrets they learn to compartmentalize.

American artists Joan Vennum (1930–2021) and Miya Ando (b. 1973) are both known for their colorful abstract landscapes that depict fleeting atmospheric phenomena. When Vennum’s lush, layered canvases are brought together with Ando’s luminous metal paintings, the dialogue expands from concepts of liminal spaces to the different ways in which we perceive the passage of time.

The exhibition also features embroidered drawings by Pakistani-American artist Anila Quayyum Agha (b.1965), tactile paper constructions by Indian-born Detroit-based artist Neha Vedpathak (b.1982), sumptuous photographs by British-American photographer Karen Knorr (b.1954) and more.

Left: Susan Weil, Josef (detail), 2009, acrylic on canvas, 74 x 47.75/188 x 121.3 cm

Anil A QuAyyum AghA

Anila Quayyum Agha (b. 1965) is internationally recognized for her large-scale cube installations that use light and pattern to immerse viewers in shared experiences and inclusive spaces. The patterns Agha laser cuts into the lacquered-steel cubes are a reinterpretation of floral and geometric motifs found in Islamic art and architecture in Asia and Africa. The elaborate floor-to-ceiling shadows allude to the richly ornamented public spaces such as mosques Agha was excluded from as a female growing up in Lahore.

Agha’s two-dimensional works include vividly colored resin paintings in which she builds up the surface in stages, with layers of colored resin applied over a substrate. Her complex compositions are turned into a digital template and incised into the resin-coated panels in a manner similar to engraving. The process can take from twelve to sixteen hours per design. Color is then delicately poured by hand to fill the precisely incised grooves. After approximately 24 hours, when the resin has hardened, the surface is leveled, and the process begins again with the next color. Each work is composed of six to twelve colors. For her mixed-media works on paper, Agha uses hand-stitching and beadwork to highlight the disparities in how we evaluate labor based on gender, ethnicity or economic station—a theme she explores frequently in her practice. Articulated in reflective metallic thread and glass beads, these works play with light and shadow in a manner similar to her sculptures.

Since 2019 Agha’s cube installations and two-dimensional works have been featured in eight solo museum exhibitions. Her work has been on view at Asia Society, New York; Peabody Essex Museum, Salem, Massachusetts; Dallas Contemporary Art Museum, Texas; Cincinnati Art Museum, Ohio; the Columbia Museum of Art, South Carolina; the Amon Carter Museum of American Art, Fort Worth, Texas; Toledo Museum of Art, Ohio; and the Museum of Contemporary Art, Jacksonville, Florida.

Walk with me my Beloved 5, 2022, mixed media (cutouts, white beads & gold thread), 30 x 30 inches/76.2 x 76.2 cm

Paradise (Mughal Gardens/Patterned Cube) II, 2022, resin, 47 x 47 inches/119.4 x 119.4 cm

mIyA AnDO

The New York-based artist Miya Ando (b. 1973) investigates fleeting natural phenomena including clouds and the night sky, capturing precise moments in time. Ando uses watercolor-like techniques to layer translucent washes of ink and pigment mixed with urethane on metal canvases. Leaving some areas bare, she allows the reflective metal to shine amid passages of muted color creating a sense of depth and movement. In many works she also embeds micronized pure silver, a fine dust-like material, which adds further sheen. Her work, which relies on keen observation, is rooted in the Japanese concept of mono-no-aware, which is commonly translated as “the pathos of things,” a bittersweet sentiment often linked to nature and the passage of time.

“It’s a wistful recognition of a fleeting moment but I don’t see it in a nihilistic sense where everything is impermanent including myself. It’s more an appreciation and awareness of the present moment,” says Ando. “My thought process behind chronicling changes in the environment stems from a yearning to pay homage to and to be connected to the natural world.”

Ando’s work has been the subject of solo exhibitions at The Asia Society Texas Center, Houston; The Noguchi Museum, New York; Savannah College of Art and Design Museum, Georgia; and The American University Museum, Washington D.C.

Chou-un (Clouds That Look Like A Flock Of Birds In The Sky) October 3 2022 9:12 AM NYC, 2022, dye, pigment, resin & urethane on aluminum, 38 x 38 inches/96.5 x 96.5 cm

Yuugure (Evening) Cloud New York City November 14 2022 4:59 PM NYC, 2022 ink, mica, pure micronized silver, resin and urethane on aluminum composite, 50 x 50 inches/127 x 127 cm

Yuugure (Evening) Cloud New York City October 3 2022 6:23 PM, 2022 ink, mica, pure micronized silver, resin and urethane on aluminum composite, 50 x 50 inches/127 x 127 cm

Yuugure (Evening) Cloud New York City November 10 2022 4:24 PM NYC, 2022 ink, mica, pure micronized silver, resin and urethane on aluminum composite, 50 x 50 inches/127 x 127 cm

gOlnAz fAthi

Golnaz Fathi (b. 1972) is part of a thriving generation of Iranian artists who grew up during the Islamic revolution and the Iran-Iraq war, a deeply isolated period of the country’s history.

Fathi has a Bachelor of Arts degree in graphic design from Azad University, Tehran, and a diploma in Iranian calligraphy from the Iranian Society of Calligraphy. She is widely recognized for expanding the tradition of calligraphy and pushing it to new heights. Her works are inspired by American Abstract Expressionists and Iranian and Middle Eastern modernists who pioneered the use of the written word as a pictorial element in the late 1950s and early 1960s. Technically brilliant, she has developed a new visual language, which reconciles the ancient with the contemporary.

Fathi’s works are in collections of The Metropolitan Museum of Art, New York; British Museum, London; Denver Art Museum, Colorado; Asian Civilisations Museum, Singapore; the Islamic Arts Museum Malaysia, Kuala Lumpur; Museum of Contemporary Art, CAA, Hangzhou, China; the World Bank, Washington, DC; Brighton & Hove Museum, East Sussex, England; Carnegie Mellon University, Doha, Qatar; the Devi Art Foundation, New Delhi; and The Farjam Collection, Dubai. In 2015, her work was exhibited in Frontiers Reimagined at the 56th Venice Biennale.

Golnaz Fathi has been recognized with numerous awards and accolades. In 1995, she was named Best Woman Calligraphist by the Iranian Society of Calligraphy. In 2010, she was invited to be a member of the selection committee of the renowned Sharjah Calligraphy Biennial and in the following year was chosen to be a Young Global Leader Honoree by the World Economic Forum.

The Sky Is Blue 1, 2021, acrylic, pen and varnish on canvas, 59.1 x 78.75 inches/150 x 200 cm

OlIVIA fRASER

Born in London and brought up in the Highlands of Scotland, Olivia Fraser (b. 1965) has lived and worked in India since 1989. She combines the techniques, vocabulary, mineral and plant pigments and handmade paper (wasli) of traditional Indian miniatures with forms and ideas inspired by modern Western art, including the archetypal shapes, colors and rhythms in the works of Kazimir Malevich and the Suprematists as well as in the Op Art of Bridget Riley and Sol LeWitt.

Her experience as an immigrant physically entering the Indian landscape is reflected in her use of landscape as a starting point in many of her works. Fraser has an affinity with the manner in which topography is depicted in miniatures: “This is a visual language through which I feel I can communicate, and tear down the frontier of foreignness to arrive at a sense of belonging.”

Olivia Fraser graduated with a Master’s Degree in Modern Language from the University of Oxford and spent a year at Wimbeldon Art College before settling in India. Since then she has studied traditional Indian miniature painting techniques under Jaipuri and Delhi masters. She follows in the footsteps of her ancestor, James Baillie Fraser, who painted India, its monuments and landscape in the early 1800s.

The artist’s work is included in public and private collections in Australia, France, India, Singapore, the United Arab Emirates, the United States, the United Kingdom and the Museum of Sacred Art, Septon, Belgium. Her works has been shown in solo exhibitions in India, China and the United Kingdom.

The Sacred Seas, 2015, stone pigment and Arabic gum on handmade Sanganer paper, 26.75 x 26.75 inches/67.9 x 67.9 cm

DEnISE gREEn

Australian-American painter Denise Green (b. 1946) trained at New York City’s Hunter College in the 1970s with Mark Rothko and Robert Motherwell. The influence of her teachers is evident in her use of color fields filled with recurrent motifs. Green combines Indian and Aboriginal philosophy with modernist technique, composing deeply personal works. Disembodied objects such as cut roses, fan-like shapes, and stone fragments hover in the center of her mixed-media paintings and works on paper. Yet the objects are not meant to be read literally. They are extensions of the artist’s inner world, alluding to her experiences with loss and grief. Green has been studying the concept of metonymy, which she describes as the fusion of the inner spiritual and outer material world, as it is posited by Aboriginal culture in her native Australia.

Green was awarded the Order of Australia in 2007. Her work has been exhibited in the United States, Europe and Australia, and it is in public collections including those of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Albertina Museum, Vienna; and the National Gallery of Australia, Canberra. Recent exhibitions include solo presentations at the Australian Consulate in New York and the H2 Center of Contemporary Art in Germany.

Her book An Artist’s Odyssey, was published by University of Minnesota Press in 2012.

After Marblehead, 2009, colored acrylic primer, oil crayon on canvas, 20 x 44.25 inches/50.8 x 112.4 cm

KAREn KnORR

London-based American artist and activist Karen Knorr (b. 1954) photographs the grand interiors of palaces, temples and museums across Asia and Western Europe into which she digitally fuses exotic animals, exploring issues of gender and class structure rooted in cultural heritage.

Knorr’s most widely recognized series, India Song (2008–2022), began with a 2,000-mile trek across Rajasthan in 2008. The life-changing experience altered the focus of her practice, shifting her gaze to the upper-caste culture of the Rajput in India and its relationship to the “other.”

In these skillfully crafted images, Knorr focuses on the interiors of sacred and secular spaces of Rajasthan. Photographed with a large-format Sinar P3 analogue camera and scanned to very high resolution, the images celebrate the rich visual culture of northern India and the layered, syncretic nature of the architecture, where motifs from Hindu and Islamic culture merge and migrate from room to room.

Her work is regularly exhibited around the world, including at Tate Britain; The Museum of Fine Arts, Houston; the San Diego Museum of Photography; Kyoto Modern Museum of Art; Seoul Museum of Art; and the Minsheng Art Museum, Shanghai. Her work is in the collection of the Tate London and Victoria and Albert Museum; Musee d’Art Moderne de la Ville de Paris and Centre Georges Pompidou; Moderna Museet, Stockholm; and the San Francisco Museum of Modern Art.

Ganesha’s Mount, Chavi Niwas, Jaipur, 2020, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/60 x 76.2 cm

The Opium Smoker, Chitrasala, Bundi, 2017, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 58 x 72.5 inches/147.3 x 184.2 cm

Temple Servant, Amber Fort, Jaipur, 2014, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm

The Way of Ishq, Grand Mosque, Abu Dhabi, 2019, colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

A Moment of Solitude, Amer Fort, Amer, 2021, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm

The Waiting Game, Poddar Haveli, Nawalgarh, 2021, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm

Procession, Aam Kaas, Juna Mahal, Dungarpur, 2021, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm

The Lovesick Prince, Aam Khas, Junha Mahal, Dungarpur Palace, 2013, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm

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 (b. 1963) 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.

Lee first gained critical acclaim when her work Raw Canvas was showcased at the Singapore Biennale in 2008, curated by Fumio Nanjo. Her work was then featured at 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 largescale installation Status, 2009, was acquired for the museum’s permanent collection. In 2015, Lee also participated in Frontiers Reimagined, at the 56th Venice Biennale.

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 Jane Lee: 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 Jane Lee: Freely, Freely at the Singapore Tyler Print Institute in 2016, which followed her 2015 residency.

Green Spell #2, 2022, acrylic paint, acrylic heavy gel, molding paste on wood, 52 x 32 x 0.8 inches/132 x 82 x 2 cm

tAyEBA BEgum lIPI

Tayeba Begum Lipi’s artistic practice is rooted in her experiences growing up in Gaibandha, a small town in Bangladesh. The eleventh of twelve children, she was often present for the home births of nieces and nephews delivered with the help of a local village woman and a razor blade. This visceral memory—the sound of the blade rolling in boiling water and the glint of the sharpened edge—eventually translated into a powerful symbol that plays a recurring role in her work. Although she initially used readymade blades, since 2010 she has had them custom manufactured in gleaming stainless steel, which allows her latitude to create different-sized works.

Lipi (b. 1969) completed a master of fine arts degree in drawing and painting at the Faculty of Fine Arts, University of Dhaka in 1993. In 2002 Lipi co-founded the Britto Arts Trust, Bangladesh’s first artistrun alternative arts platform dedicated to organizing exhibitions, encouraging intercultural dialogue and providing residencies for international and local artists. She was awarded a Grand Prize at the 11th Asian Art Biennale Bangladesh in 2003 and was the commissioner for the Pavilion of Bangladesh at the 54th Venice Biennale, 2011. In 2012, she was one of the curators for the Kathmandu International Art Festival. She also participated in the 14th Jakarta Biennale and the Colombo Art Biennale in Sri Lanka in 2011 and the Dhaka Art Summit in 2012. In 2000 Lipi was an artist-in-residence at the Irish Museum of Modern Art, Dublin, her first in a number of artist residencies over the past twenty years.

Lipi’s work has been exhibited across the globe at venues including the Solomon R. Guggenheim Museum, New York; the Shanghai Modern Art Museum; the Taiwan National Museum of Fine Art; the Eli and Edythe Broad Art Museum, Lansing, Michigan; and Museum Arnhem, Netherlands. In 2015, her work featured prominently in Frontiers Reimagined at the 56th Venice Biennale. In 2022, she participated in a collaborative presentation at Documenta as part of the Lumbung Member Britto Arts Trust.

Lipi is represented in the collections of the Solomon R. Guggenheim Museum, New York; Smith College Museum of Art, Northampton, Massachusetts; the Fashion Institute of Technology, New York; Birmingham Museum of Art, Alabama; the National Art Gallery of Bangladesh Shilpakala Academy, Dhaka; and the Devi Art Foundation, Delhi.

My Little Privacy, 2016, brass made safety pins covered by electroless nickel immersion gold, 7 x 3 x 10 inches/17.8 x 7.6 x 25.4 cm

nEhA VEDPAthAK

Neha Vedpathak (b. 1982) is an Indian-born Detroit-based artist who creates sculptural installations and wall reliefs made from paper. She began as a painter, creating minimalist abstract works on canvas. She subsequently sought to move beyond the two-dimensional plane and in 2009 began working with handmade Japanese paper. Using a technique she developed herself, which she refers to as “plucking,” Vedpathak spends hours separating the paper’s fibers with a pushpin. There is a distinctly spiritual aspect to her painstaking 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 and by leaving small areas of the composition unplucked.

In 2018 the Detroit Institute of Arts commissioned a large-scale paper installation for its new Asian wing. Her work has also been shown at The Baker Museum, Naples, Florida; Arizona State University Art Museum, Tempe; Weatherspoon Museum, North Carolina; and Centre d’Art Marnay Art Centre, France.

Seam of Hope, 2019–2020, plucked Japanese handmade paper, acrylic paint, thread, 28.5 x 40 inches/72.4 x 101.6 cm

JOAn VEnnum

Joan Vennum (1930–2021) was a New York-based artist who created luminous, color-flooded paintings exploring spatial environments. They are at once abstract and figurative. Best known for her ethereal canvases of repeated layers and gradations of color fields, Vennum had roots in post-Abstract Expressionism and portrayed the illusion of limitless space, as it appeared both in her imagination and in the natural world.

A native of New York, Vennum studied art at the University of Illinois, Champaign, and at Washington University in St. Louis. Her main inspirations were the works of Mondrian, de Kooning and, particularly, the Dutch Old Masters’ use of space and minute detail. More importantly, two events affected Vennum’s artistic point of view during her early development. As a child she was mesmerized by the New York Planetarium’s simulation of the universe and the vastness and mystery of space. Then, as an adult, a trip to Sicily revealed the impact of weather on the landscape, the coming together of the elements on the horizon and the spectacle of the sea. The dynamism of these elements and the vastness of space are made present in Vennum’s images through a combination of simple forms and intense surface detail. As Vennum said, “My goal is to express a large concept visually using what appear to be the simplest forms.”

Though she was an abstract artist, with roots in the post-abstract expressionist camp of women painters such as Lee Krasner and Joan Mitchell, her painstaking interest in surface detail is what makes Vennum’s work unique and serves as the catalyst for her pictorial dynamism. Vennum has stated, “My work is built in the way of abstract expressionism in the sense that the process is a discovery, yet my discovery takes place in meditation. Eastern philosophy makes it clear that original ideas can only proceed from a clear place . . . and if I am patient, there will be the moment when I know I have found my way.”

Joan Vennum’s work is in the permanent collections of the Brooklyn Museum, New York; The Power Collection of Contemporary Art, Sydney, Australia; the Konstmuseet, Uttersberg, Sweden; the Skandia Försäkringsbolag, Stockholm; and the Museo Civico, Taverna, Italy.

Four Through Time, 2010–2015, oil on canvas, 60 x 48 inches/152.40 x 121.92 cm

Hidden, 2015, oil on canvas, 24 x 29 inches/60.96 x 73.66 cm

O (for Rimbaud), 2006, oil on canvas, 80 x 70 inches/203.2 x 177.8 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.

Secrets, 1949, pencil, torn paper, collage, 10.5 x 10.5 inches/26.7 x 26.7 cm

Josef, 2009, acrylic on canvas, 74 x 47.75/188 x 121.3 cm

Steins a Steins a Stein, 2012, mixed media on canvas & art board, 63 x 49 inches/160 x 124.5 cm

Torso with Blue, 1969, oil on linen, 20 x 20 inches/50.8 x 50.8 cm

Walking Figure, 1969, acrylic on linen, 51 x 72 x 1.25 inches/130 x 183 x 3 cm

S un DARA m tA g ORE g A ll ERIES

The gallery has been representing established and emerging artists from around the world since 2000, showing work that is aesthetically and intellectually rigorous, infused with humanism and art historically significant. The gallery specializes 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 underrepresented 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

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 gallery@sundaramtagore.com

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.S un DARA mtAg ORE.CO m

Text © 2023 Sundaram Tagore Gallery

Photographs © 2023 Sundaram Tagore Gallery

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