Break, Bind & Rebuild - Amy Lee Sanford and Tith Kanitha

This e-catalogue is published in

Artists

conjunction with Amy Lee Sanford

Amy Lee Sanford

and Tith Kanitha’s exhibition,

Tith Kanitha

Break, Bind & Rebuild, held at A+ WORKS of ART, Kuala Lumpur,

Curator

from 6 to 22 December 2018

Ben Valentine Editor Lee Weng Choy Project Management Joshua Lim Lienne Loy Nikki Ong Graphic Design Kenta.Works Photography Damien Khoo KuwaKenta Philippa Kelly

FRONT COVER Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #32) 2018 BACK COVER Tith Kanitha Instinct Series #17 (detail) 2017

Artist Tith Kanitha bulk orders 0.70 mm-thick steel wire from Japan. It arrives neatly coiled, ready to serve or support any number of industrial applications.

Instead of using the wire right away, Kanitha slowly unwinds the reels from their ten-inch circles, only to tightly re-furl them around a rod less than a centimeter in diameter. Oddly enough, she refers to this whole process as “untangling”. It takes many, many hours.

Once she has prepared bundles of tightly wound spring tubes of the wire, Kanitha begins a process suggestive of weaving or knitting — traditionally female crafts.

However, in place of any handed-down traditional craft or art school-trained methodology, Kanitha works purely instinctually. Coils are entwined here, unraveled slightly here, then entangled and woven into a mat there.

Over the last decade, this material and her process of working has become Kanitha’s signature style. She tells me that it’s vitally important that her sculptures are not perfect, that they are free to be themselves, that she follows their lead (after following her practice for a couple of years, I’m now beginning to understand what she might mean). ***

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Artist Amy Lee Sanford is a student of methodologies of remembering. She treasures what she refers to as “dusty boxes”, containers which most everyone has tucked away safely somewhere. Dusty from rare use, these metaphorical or real boxes are filled with things that serve no utilitarian purpose, but from which one would never part ways. They our the artefacts of our lives: the objects and memories that show us where we come from, and who we are. These are the things that one runs into a burning house to save. They are visceral facets of our identities.

Perhaps the crown jewel of Amy’s boxes are a stack of handwritten letters: page upon heavily creased page, with precious hints filled out in blue or black ink. They are all that physically remains of her relationship to her father. She is compelled to pick through them, word by word, letter by letter — to piece them back together.

Perhaps she can build something whole out of mere fragments, or is she is drawing our attention to some more fundamental rupture? *** Kanitha’s sculptures appear simultaneously fabricated and also grown. They feel ancient, as though artefacts from a long forgotten, lost civilisation — or the skeletons of primordial life. The industrial material complicates this impression, yet doesn’t erase it entirely. It is easy to forget that Kanitha made these in the thick of a turbulent post-war Cambodia; she first began working with this wire as her neighbourhood and childhoodhome near Boeung Kak faced mass eviction. The forms

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are all rorschach tests for interpretation by the viewer.

They are Kanitha’s mysteriously abstract responses to the complex contexts and conditions of her life.

When Kanitha talks about her sculptures, it would be easy to mistake her language to be about herself: a need for freedom, to breath, an intense energy that murmurs through everything. Having explored more overtly feminist tactics earlier in her career, now, in peeling back the layers of the politics that surround her, Kanitha has found that it is first and foremost free expression that she craves. In her process of creation, these abstract forms soak up and then respond to her environment. But, as with sublimation or meditation, for Kanitha it is the process of creation that is healing and liberatory, in and of itself. She is simply following her instinct. *** Amy’s approach to her family history is more akin to the labours of a paleontologist than a memoirist; she scans, photographs, enlarges, and sorts. Despite how emotionally charged these objects are, her feelings about them all remain a mystery to us. Amy instead chooses to focus our attention on the actions surrounding such artifacts — the verbs rather than the nouns. What Amy models is a process of focused remembrance that is strikingly personal, and yet, in her silence, one that becomes more universal. In doing so, Amy enacts an intensive meditative process of confronting her past, while adopting — or at least aspiring to — an ideal of non-attachment. Amy’s relationship to memory and

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suffering, as evidenced throughout her performative practice, is strongly reminiscent of Buddha’s most fundamental teaching, namely, that life is a repeating cycle of suffering caused by our grasping ego. *** Kanitha’s forms are a pleasure to take in at any distance, from the surrounding in which they emerge, to the bulbous organic shapes as a whole, all the way down to the fine spiraling tendrils, cast as shadows on the walls. They can be considered within her place and time, or simply as forms before us, either way, they are remarkable. Kanitha is a product of, immersed in, but simultaneously freed from the confining aspects of national identity. Her art can speak as itself, even while deeply entangled within the muck of context. As political tides shift, and elections come and go, Kanitha is there: untangling, coiling, and binding; weaving mysterious messages into wire in search of new verbs for advocacy and rebirth. *** Amy takes a loaded and emotionally entangled object that is perhaps a deep source of pain or longing, and takes it apart, confronting it fully. She does not pursue the past to change it, but to find acceptance. And as compelling and personal as her own story is, through her emphasis on verbs, we, the audience, are drawn to reflect on what might be dragging each of us down, in our own dusty boxes, and what actions we can do, to air them out.

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Photo by KuwaKenta

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Amy Lee Sanford & Tith Kanitha: Break, Bind & Rebuild installation view at A+ WORKS of ART

Photo by Damien Khoo

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Photo by Damien Khoo

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Amy Lee Sanford & Tith Kanitha: Break, Bind & Rebuild installation view at A+ WORKS of ART

Photo by Damien Khoo

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Amy Lee Sanford & Tith Kanitha: Break, Bind & Rebuild installation view at A+ WORKS of ART

Photo by Damien Khoo

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Amy Lee Sanford & Tith Kanitha: Break, Bind & Rebuild installation view at A+ WORKS of ART

Photo by Damien Khoo

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #9) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #11) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #13) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots(Pot #14) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #18) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #29) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #30) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Full Circle, Arc of 7 Pots (Pot #32) 2018 Clay, glue, fabric, string and scissors Dimensions variable

Photo by Philippa Kelly

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Amy Lee Sanford Break Pot Sketch: Banteay Samre (video stills) Single channel video 2013 09:55 minutes

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Amy Lee Sanford Unfolding Series: May 7, 1974 2014 Pigment print on Epson Photo Luster 75 ∑ 88.78 cm

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Amy Lee Sanford Unfolding Series: République Khmerè (January 13, 1975) 2014 Pigment print on Epson Photo Luster 75 ∑ 145.41 cm

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Amy Lee Sanford to the airport with us (July 24, 1974) 2014 Pigment print on Epson Photo Luster 75 ∑ 106 cm

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Amy Lee Sanford Unfolding Series: supply of food for a month (29 September 1973) 2014 Pigment print on Epson Photo Luster 127.04 ∑ 75cm

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Amy Lee Sanford when she got on the plane (September 21, 1974) 2014 Pigment print on Epson Photo Luster 75 ∑ 112.50 cm

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Amy Lee Sanford Scanning (video stills) 2013 Single channel video 41:56 minutes

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Tith Kanitha Untitled 2018 0.7 mm steel wire 55 ∑ 98 cm

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Tith Kanitha Instinct Series #10 2017 0.7 mm steel wire 35 ∑ 55 cm

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Tith Kanitha Untitled 2018 0.7 mm steel wire 102 ∑ 135 cm

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Tith Kanitha Bright Future 2017 0.7 mm steel wire 180 ∑ 85 cm

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Tith Kanitha Instinct Series #17 2018 0.7 mm steel wire 58 ∑ 43 cm

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Tith Kanitha Untitled 2018 0.7 mm steel wire 43 ∑ 27 cm

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Tith Kanitha Untitled 2018 0.7 mm steel wire 62 ∑ 35 cm

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Tith Kanitha Instinct Series #13 2017 0.7 mm steel wire 160 ∑ 35 cm

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AMY LEE SANFORD (b. 1972, Phnom Penh) is a Cambodian-American sculptor. Her work explores the intersection of trauma and healing. Born in Phnom Penh, Cambodia and raised in the United States, the artist holds a degree from Brown University in the Visual Arts, with concentrated study in biology and engineering. She furthered her art studies with individual courses at The Rhode Island School of Design, University of Massachusetts/Dartmouth and Harvard University. Sanford has been in numerous exhibitions internationally. A partial list includes UnAuthorised Medium (Framer Framed, Amsterdam, NL, 2018), Memory | Commitment | Aspiration (University of Arkansas Little Rock, United States, 2018), Cinerama: Art and the Moving Image (Singapore Art Museum, 2017-18), Images Biennial: An Age of Our Own Making (Museum of Contemporary Art, Denmark, 2016), Cascade (solo exhibition, Bathurst Regional Art Gallery, NSW, Australia, 2015-16).

A+ WORKS of ART — Amy Lee Sanford & Tith Kanitha: Break, Bind & Rebuild

EDUCATION • Bachelor of Arts in the Visual Arts, with concentrated study in Chemical Engineering and Biology, Brown University • Harvard Ceramics Program. Individual ceramics courses, Harvard University • Ceramic coursework, University of Massachusetts at Dartmouth • Individual ceramic and metal courses, Rhode Island School of Design SOLO EXHIBITIONS 2017 • Single Break Pot: West Putnam, Performance for Cambodia: Looking Back on the Future at Flinn Gallery, Greenwich CT 2016 • Single Break Pot: West 52nd Street, Performance for Interlace: Three Artists in the Cambodian Diaspora at inCube Arts, New York, NY • Full Circle: Roskilde, Images Biennial: An Age of Our Own Making at the Museum of Contemporary Art, Roskilde, Denmark.

• Single Break Pot: Darupvej, Images Biennial: An Age of Our Own Making at the Roskilde Music Festival, Denmark 2015 • Cascade, Bathurst Regional Art Gallery, Bathurst, NSW, Australia 2013 • Single Break Pot: Swanston Street, Sidney Meyer Asia Center, Asialink, University of Melbourne, Melbourne, VIC Australia • Single Break Pot: Gertrude Street, SEVENTH Gallery, Fitzroy, VIC, Australia • Single Break Pot: Governor’s Island, Lower Manhattan Cultural Council’s Swing Space, Governor’s Island, New York • 40 Pots + 4 Sketches, Sculpture and video, Java Gallery, Phnom Penh, Kingdom of Cambodia 2012 •B uilding Again, Performance involving demolishing a brick wall with sledgehammers, and rebuilding the wall from the rubble. With public participation. Commissioned by and presented during Our City • Festival 2012 and Java Arts. Sothearos Park,Phnom Penh, Kingdom of Cambodia •F ull Circle, Durational Performance, resulting in 40 clay pot sculptures, Meta House Gallery, Phnom Penh, Kingdom of Cambodia

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GROUP EXHIBITIONS 2017 • Cinerama: Art and the Moving Image, Singapore Art Museum, Singapore 2016 • L ove in the Time of War, SF Camerawork, San Francisco, CA and UC Santa Barbara Glass Box Gallery, CA • Images Biennial: An Age of Our Own Making, Museum of Contemporary Art, Roskilde, Denmark • Interlace: Three Artists in the Cambodian Diaspora, inCube Arts SPACE, New York, NY • 1975, University of Massachusetts, Lowell, MA • Histories of the Future, National Museum, Phnom Penh, Cambodia 2015 • Art Stage Singapore, Video Platform, Curated by Paul Greenaway. Singapore.

• 1 975, Jewett Gallery, Wellesley College, Wellesley MA •A nd That Which Was Always Known, Yavuz Gallery, Singapore 2014 • O n the Streets, Funded by ApexArt, New York. Exhibition hosted by 2014 Our City Festival and Java Arts, in Phnom Penh, Cambodia • Traversing Expanses, SA SA BASSAC Gallery, Phnom Penh, Cambodia.

• 1975, Long Beach City College Art Gallery, Long Beach, CA • Phnom Penh Rescue Archaeology: The Body and the Lens in the City, SA SA BASSAC Gallery, Phnom Penh, Cambodia 2013 • T hree Artists in One Show, The Gallery at the Park Hyatt Siem Reap, Siem Reap, Cambodia • Full Circle at PSi#19, Performance Studies International Conference 19. Stanford University, Stanford, CA • Governor’s Island Open Studios, Lower Manhattan Cultural Council, New York, NY. • 1975, Topaz Arts, Queens, NY • Phnom Penh: Rescue Archaeology, Institut für Auslandsbeizehungen, Berlin and Stuttgart, Federal Republic of Germany • Cities of Ancient Futures: A Futuristic City of the Past, Changwon Asian Art Festival, Changwon, Republic of Korea 2012 • n ew artefacts, SA SA BASSAC Gallery, Phnom Penh, Kingdom of Cambodia.

• P roud to be Me, Meta House, Phnom Penh, Kingdom of Cambodia 2010–2006 • Global Hybrid, Meta House, Phnom Penh, Kingdom of Cambodia

• Transformations II, Long Beach, CA. • L ondon Biennial, London, UK • Movement, Color and Light, Agni Gallery, New York, NY • War, Madness and Delusion, AndoverNewton Theological School, Newton, MA. • T he Art of Mosaic, Somerville Museum, Somerville, MA • Martinis & Masterpieces, The State Room, Boston, MA • Calling Cambodia, Laconia Gallery, Boston, MA • Women’s Art After War: Reclaiming Southeast Asian Histories, HuntCavanaugh Gallery, Providence College, Providence, RI 2005–1995 •L aconia Artists Group Show, Laconia Gallery, Boston MA. •T he Asian American I, Lower Gallery, Cambridge Multicultural Arts Center, Cambridge, MA. •M useum of Fine Arts Staff Art Exhibition, Grossman Gallery, School of the Museum of Fine Arts, Boston, MA. •A CKT OUT, Sarah Doyle Gallery, Providence, RI. •A rtBeat ’95, Citizen’s Bank Plaza, Providence, RI. •T he Providence Pride Show, Maxey Gallery, Providence, RI. •T he Vessel, Sarah Doyle Gallery, Providence, RI.

2013 •F IELDS, A twenty two day, research-based residency collaboration between St Paul Street Gallery at the Auckland University of Technology and SA SA BASSAC Gallery.

• Siem Reap Conference on Visual Studies, Panelist, Territory and Contemporary Cambodian Art, moderated by Ashley Thompson.

• Season of Cambodia: IN RESIDENCE, A two-month, fully funded residency in collaboration with Season of Cambodia and the Lower Manhattan Cultural Council’s Swing Space on Governor’s Island. New York, NY. FELLOWSHIPS/AWARDS • Sovereign Art Award Finalist 2014 • PSi Enrichment Bursary Award, For one or more successful proposals for the PSi conference program. Two were awarded by the organizers of Performance Studies International Conference 19, at Stanford University. International Fellowship, Lower Manhattan Cultural Council and the Asian Cultural Council. New York, NY. Best of Show Award, Museum of Fine Arts Staff Art Exhibition. Boston, MA. • NASA-RI Space Grant Scholar Award, Department of Geological Sciences, Brown University. Providence, RI.

RESIDENCIES/ENGAGEMENTS 2017 • Panel Discussion, Moderated by Asia Society’s Rachel Cooper. Greenwich Public Library, CT. • O n-Stage Interview, with Toni ShapiroPhim, for Catherine Filloux’s premiere of Kidnap Road at La MaMa theater, NY. 2016 • Artist-In-Residence and Public Presentation, A one-month, artist residency at Khmer Arts Academy, Long Beach, CA. • Artist presentation and class discussion, University of California at Santa Cruz.

• Artist presentation and panel discussion, University of Massachusetts at Lowell 2014 •A rtist-In-Residence at Haefliger’s Cottage, Hill End, New South Wales, A onemonth, fully funded residency through Museums and Galleries of NSW, Sydney and Bathurst Regional Council, Bathurst, NSW, Australia.

• R ates of Exchange: Uncompared, Symposium at the Reading Room, Bangkok, Thailand • E |MERGE Interdisciplinary Collaborative Residency, Earthdance Artist in Residence, Plainfield, Massachusetts

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TITH KANITHA (b. 1987, Phnom Penh) is a crossdisciplinary artist working between the visual arts in sculpture, performance, and installation as well as in Cambodia’s independent film industry, as a director and artistic director. She holds a BA in Interior Design, Royal University of Fine Arts, Phnom Penh, Cambodia (2008). Kanitha’s solo exhibitions include Instinct (SA SA BASSAC, Phnom Penh, 2018) and Companions (French Cultural Center, Phnom Penh, 2011). Select recent group exhibitions include; Le paysage après coup (Centre d’art contemporain Faux Mouvement, Metz, 2018), SUNSHOWER: Southeast Asian Art from 1980s to Today (Mori Art Museum, Tokyo, 2017), Today of Yesterday: The Return (Yamamoto Gendai, Tokyo, 2015), Rates of Exchange: Uncompared (Contemporary Art in Bangkok and Phnom Penh, H Gallery, Bangkok and SA SA BASSAC, Phnom Penh, 2014), and Phnom Penh Rescue Archaeology: Contemporary Art and Urban Change In Cambodia (IFA, Berlin and Stuttgart, Germany, 2013) and The Memory Workshop (Columbia University, NYC, 2013). Kanitha has been an artist-in-residence with; New Zero Art Space, Yangon, Myanmar, for the Gender Under Ref lection, Southeast Asia Contemporary Art Exchange Program (2012), The Art Initiative Tokyo – Backer foundation at Yamamoto Gendai, Tokyo (2015), Bose Pacia Transparent Studio, New York City, for Season of Cambodia and FIELDS: An Itinerant Inquiry Across the Kingdom of Cambodia (2013), and FIELDS II: On Attachments and Unknowns, Phnom Penh (2017). She was nominated for the DAAD Berlin Residency (2014) and the Sovereign Asian Art Prize (2017). Kanitha has been selected for the prestigious Rijksakademie residency program in 2019.

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EDUCATION 2004–2008 • B.A. Interior Design, Royal University of Fine Arts, Phnom Penh, Cambodia SOLO EXHIBITIONS 2017 • Instinct, SA SA BASSAC, Phnom Penh, Cambodia • Companions, French Cultural Center, Phnom Penh, Cambodia GROUP EXHIBITIONS 2017 • SUNSHOWER, National Art Center, Tokyo, Japan 2016 • ASIA NOW, Paris Asian Art Fair, Paris, France 2015 • Today of Yesterday: The Return, Yamamoto Gendai, Tokyo, Japan 2014 • R ates of Exchange : Uncompared | Contemporary Art in Bangkok and Phnom Penh, H Gallery, Bangkok, Thailand and SA SA BASSAC, Phnom Penh, Cambodia • R escue Archaeology: The Body, The Lens, The City, SA SA BASSAC, Phnom Penh, Cambodia • R escue Archaeology: The Body, The Lens, The City, Center for Contemporary Art, Singapore • Phnom Penh Rescue Archaeology: Contemporary Art and Urban Change in Cambodia, ifa, Berlin and Stuttgart, Germany 2013 • T he Memory Workshop, Columbia University, NYC 2012 • Heavy Sand, part of performance art event Reclaimation Recreation: An Urban Beach Party, SA SA BASSAC, Phnom Penh, CAMBODIA • Hut Tep So Da Chan / SurVivArt, the artist’s home, Phnom Penh and House of World Cultures, Berlin, Germany • D om-naer Thmey / New Journey, Cambodian Youth Art Festival, Cambodian Living Arts, Phnom Penh, Cambodia 2011 • Salon des Créateurs, The Mansion, Phnom Penh, Cambodia 2010 • Hey Sister, Where Are You Going?, Sovanna Mall, Phnom Penh, Cambodia 2009 • Waiting, Hôtel de la Paix Arts Lounge, Siem Reap, Cambodia

• Toeuk Khmean Charon / Still Water, Bophana Center, Phnom Penh, Cambodia 2008 • I LOVE PP, Java Café, Phnom Penh, Cambodia • Art of Survival, Meta House, Phnom Penh, Cambodia 2007 • Mean Rup Mean Tuk / With A Body Comes Suffering, Department of Plastic Arts, Phnom Penh, Cambodia RESIDENCIES/ENGAGEMENTS 2019 • R ijksakademie Residency 2015 • T he Art Initiative Tokyo residency/ Backer foundation, Tokyo, Japan 2014 • Nominated for DAAD artist residency, Berlin, Germany 2013 • FIELDS, An Itinerant Inquiry Across the Kingdom of Cambodia • Bose Pacia Transparent Studio, NYC / Season of Cambodia IN RESIDENCE SELECTED BIBLIOGRAPHY 2013 • “Interview with Tith Kanitha Pamela N. Corey.” Phnom Penh, Rescue Archaeology: Contemporary Art and Urban Change in Cambodia. Ifa, Berlinand Stuutgart. Print.

• Roger Nelson. “Art and Sand in Cambodia. “Please Enjoy My Sand!”

Artlink: Contemporary Art of Australia and the Asia Pacific has a special issue (vol. 33, no. 4, December, 2013) • “ Transparent Studio, Interview with Tith Kanitha.” +91 Archives Blog. Web. SELECTED FILMS 2015 • A rtistic Director, Diamond Island, Directed by Davy Chou, Vycky Films.

2013 • Stage manager, Cambodia 2099, Directed by Davy Chou, Vycky Films.

2012 • Second Assistant Director, Dream Land, Directed by Steve Chen, Superspace.

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BEN VALENTINE is a writer and curator living in Cambodia with his wife and son. He is preparing his first book, on six artists from Cambodia, all of whom are women. Having worked previously as a staff writer for Hyperallergic and SFAQ, Ben now works independently, and has written, curated, and presented on art and culture around the world. His writing has appeared in Salon, The New Inquiry, Motherboard, ArtAsiaPacific, Los Angeles Review of Books, and elsewhere. Ben has lectured at several institutions and art spaces, including, the School of the Art Institute of Chicago, SXSW, the Museum of the Moving Image in New York City, and 98B in Manila. Deeply committed to sharing with a wide, diverse audience, Ben has worked as an art history teacher in Phnom Penh, helped run Sammaki Community Arts, in Battambang, Cambodia, worked in Public Programming for SA SA BASSAC in Phnom Penh, and has led workshops on art criticism and theory at SA SA BASSAC, A.Farm in Ho Chi Minh City, and Sammaki Community Arts. In 2018, he co-founded an intimate, invite-only writing retreat, which has so far been convened in Cambodia, Malaysia, and Vietnam.

Ben was once chased by elephants in Tanzania and can read children’s books in Khmer, albeit slowly.

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Acknowledgements A+ WORKS of ART and curator, Ben Valentine would like to thank: Dana Langlois Erin Gleeson Joshua Lim Lee Weng Choy Lienne Loy Nikki Ong

A+ WORKS of ART d6 - G - 8 d6 Trade Centre 801 Jalan Sentul 51000 Kuala Lumpur Malaysia +60 18 333 3399 info@aplusart.asia Opening Hours: 12 pm – 7 pm, Tuesday to Saturday Closed on Sunday, Monday and public holidays

Copyright © A+ WORKS of ART 2018.

All rights reserved.

All articles and illustrations contained in this catalogue are subject to copyright law. Any use beyond the narrow limites defineded by copyright law, and without the express of the publisher, is forbidden and will be prosecuted.

A+ WORKS of ART is a contemporary art gallery based in Kuala Lumpur, with a geographic focus on Malaysia and Southeast Asia. Founded in 2017 by Joshua Lim, the gallery presents a wide range of contemporary practices, from painting to performance, drawing, sculpture, new media art, photography, video and installation.

Its exhibitions have showcased diverse themes and approaches, including material experimentation and global conversations on social issues. Collaboration is key to the ethos of A+ WORKS of ART. Since its opening, the gallery has worked with artists, curators, writers, collectors, galleries and partners from within the region and beyond, and continues to look out for new collaborations. The gallery name is a play on striving for distinction but also on the idea that art is never without context and is always reaching to connect — it is always “plus” something else.

A+ WORKS of ART d6 - G - 8 d6 Trade Centre 801 Jalan Sentul 51000 Kuala Lumpur Malaysia +60 18 333 3399