Gallery Shows 45


MIYA ANDO Drifting Cloud, Flowing Water


Timed to Asia Week, contemporary East-meets- West Sundaram Tagore Gallery is presenting works by Miya Ando (b 1978), a mixed media artist. With a scholarship of Buddhism and a heritage descending from Bizen sword makers in Japan, she infuses incredible metal paintings with a distinctive technique, resulting in a tranquil set of cool tones. In recent years, Ando has departed from her metalworks and evolved into installations, with wood and silver. Each style of work reflects the light in the gallery, channelling serenity no matter what time of day. Tree series of paintings on view – Kumo (Cloud),Kasumi


Kumo 5.5.5 (2017) by Miya Ando, glass, 12.7 x 12.7 x 12.7 cm


(Mist) and Yoake (Dawn) – each evoke aspects of the ethereal, even as the metal is rooted in permanence. Te Kumo paintings allude to evanescence, such as clouds


shifting from one moment to the next, subtly marking the passage of time. As with many of her works, Ando expresses this concept with industrial materials. For these paintings, she uses brushed aluminum composite as a canvas, the subtle texture of which compounds the mercurial quality of light. Te clouds are rendered with matte ink, which gives the overall effect of light emanating only from the negative space—the metal surface—in the same way that light radiates from the sky. Alexandra Bregman


• From 2 March to 14 April, Sundaram Tagore Gallery, New York, sundaramtagore.com


ANNYSA NG Circle With Radius of Zero


Annysa Ng is a Hong Kong-born artist based in New York, whose black and white mixed media works were made in 2017 and 2018. Tey are at once happy and sad, eerie yet relatable, designed to be infinite and yet impermanent. Te Western influence in the works is strong, drawing influence from English poetry and lyrics, and the recurring white circle that appears in each work taking shape as a mirror and even an Elizabethan ruff. However, the Asian influence is also intensely powerful. Not only is the pale face of an Asian beauty prominently featured, but the white shape bears reference to a long history of purity and shape in Song- dynasty ceramics or moon vessels of more contemporary Korean. Te duality of everything and nothing eager to be conveyed by these


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Oval Portrait (2018), ink, acrylic, fibre paste on linen, test tube, Plexiglas, acrylic mirror , cotton, commercial paint on wood, 36 x 48 x 2.75 inches. Inspired by Edgar Allen Poe’s ‘Te Oval Portrait’


works speaks more to the ideology of old world religious themes of dual detachment and reference, of rebirth and meditation on the unconscious. Te works are also intended as a metaphor


ZHANG ENLI The Garden


As a champion of overlooked spaces and objects, Zhang Enli works from sketches, photographs, and memories to render his experience of the world in variegated brushstrokes and intimations of figures. His works, grounded in his immediate surroundings, involve a ceaseless scrutiny of ways of seeing. For the paintings on view in this exhibition, the artist has drawn inspiration from the gardens that populate the industrialised cityscape of Shanghai, articulating his impressions of their organic forms through expansive, immersive paintings that envelop viewers in an uncanny sense of recognition. In recent year’s Zhang has been developing his own abstract visual language, and this approach can clearly be seen the works


for a dual identity between Hong Kong and New York. Alexandra Bregman


• From 15 March to 26 April, China 2000, New York, china2000fineart.com


C M Y CM MY CY CMY K


Te Garden (2017) by Zhang Enli, oil on canvas, 250 x 300 cm © Zhang Enli. Courtesy the Artist and Hauser & Wirth


on view where he explores the poetic aspects of everyday contemporary life. • Until 7 April at Hauser & Wirth, New York, hauserandwirth.com


Untitled-1 1 14/02/2018 14:55 MARCH 2018 ASIAN ART


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