Warped Space, California College of the Arts, Wattis Institute for Contemporary Arts, San Francisco To the Point, State Gallery, Vancouver, Canada SPF: Self-Portraits, Angles Gallery, Santa Monica, Calif.
Works on Paper, Museum of Modern Art, New YorkĮrotic Night Mother’s Day, UCLA Hammer Museum, Los Angeles Pieces of Angels: Contemporary Art from Los Angeles, University Art Gallery, Sonoma State University, Sonoma, Calif.ĭrawing and Drawn, Cerritos College Art Gallery, Norwalk, Calif.Īdjunct, University of Southern California, Helen Lindhurst Gallery, Los Angeles The Senses, Pomona College Museum of Art, Claremont, Calif. Otis Alumni Exhibition, Los Angeles Municipal Art Gallery, Los Angeles Symmetry, The MAK Center at the Schindler House, West Hollywood, Calif. ING (dro’ing) n., BravinLee programs, New York.Rogue Wave, LA Louver Gallery, Venice, Calif.ĭarling, take Fountain, Kalfayan Gallery, Athens, GreeceĭRAW Painting’s Edge, Riverside Art Museum, Riverside, Calif. Humor Us, Los Angeles Municipal Art Gallery,Los Angeles Portrayal Betrayal, Long Beach City College, Long Beach, Calif.įaculty Exhibition, Pomona College Museum of Art, Claremont, Calif.Īmbivalent figuration people, Samson Projects, BostonĪ New Cosmopolitanism: Preeminence of place in contemporary art, California State University, Fullerton, Fullerton, Calif. Los Angeles: Aspects of an Archaic Revival, Galerie Haus Schneider, Karlsruhe, Germanyĭialogue in Art: South Asian American Art Festival, Santa Monica, Calif. Sandeep Mukherjee: Redolence, Margo Leavin Gallery, Los Angeles
Sandeep Mukherjee, Margo Leavin Gallery, Los Angeles Project 21: Sandeep Mukherjee, Pomona College Museum of Art, Claremont, Calif. Sandeep Mukherjee, Nature Morte Gallery, New Delhi Spell: Sandeep Mukherjee, Nichols Gallery Broad Center, Los Angeles Pitzer College, Claremont, Calif. Sandeep Mukherjee, Sister, Cottage Home, Los Angeles The fusion of this paradox aspires to become a conduit to another dimension of experience where the possibilities are many and ultimately open ended for the viewers to inscribe for themselves. As a strategy to straddle this dilemma, my work emphasizes materiality and exactitude, but also remains perceptually mutable and incorporeal. To me this conundrum points to the struggle of extrapolating meaning from evidence and experience. When one can predict the position of the particle, it is impossible to determine the wavelength of the wave and vice versa. What does this infinite delay imply for the limits of human knowledge and experience? The complementary nature of light, simultaneously a particle and a wave, serves as a useful model for me to explore the edge between subjective experience and objective information. Does this paradoxical edge represent an attempt to grasp at unity and difference simultaneously? The vanishing point of perspective that appears fixed is always approaching the point, but never arrives. The line used in pictorial space is a finite edge where different spaces meet, but in fact encompasses infinity. Comprehending infinity, a desire that can be articulated but never obtained has been a driving force for the recent work. The structural use of line, either horizontal as in horizons, undulating as in mountains and valleys, spiraling and circling as in expansion and contraction or perspectival as in approaching and receding has been integral in my ongoing investigation of dimensional reality and the subjective experience of limitless space. For the past several years, I have made abstract paintings and installations that underscore the viewer’s physical presence and activate the entire architectural space in which the artwork and viewer exist. My work strives to articulate those instances in which explicit distinctions known to us through science, art and culture blur and fade into one another.
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