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Hong Kong

Miya Ando

Light Metal

February 13 – March 19, 2014

Miya Ando, Ephemeral Red, 2013, Dye, pigment, lacquer, resin on aluminum plate, 36 x 36 inches
Miya Ando, Gold Kimono, 2013, hand-dyed anodized aluminum, 22 karat gold leaf, 52 x 40 inches
Miya Ando, Sui Getsu Ka 5, 2011, Dyed aluminum, 24 x 24 inches
Miya Ando, Blue Purple diptych, 2013, Hand-dyed anodized aluminum, 48 x 48 inches
Miya Ando, Sui Getsu Ka 7, 2011, Dyed aluminum, 24 x 24 inches
Miya Ando, Ephemeral Indigo 4, 2013, Dye, pigment, lacquer, resin on aluminum plate, 36 x 36 inches
Miya Ando, Akari Light 5-40 AM, 2013, Hand-dyed anodized aluminum,
Miya Ando, Hakanai Fleeting (Orange), 2013, Hand-dyed anodized aluminum, 48 x 24 inches
Miya Ando, Indigo triptych 2, 2013, Hand-dyed anodized aluminum, 24 x 72 inches
Miya Ando, Ephemeral Green, 2013, Dye, pigment, lacquer, resin on aluminum plate, 36 x 36 inches
Miya Ando, Sui Getsu Ka 8, 2011, Dyed aluminum, 24 x 24 inches

About This Exhibition

New York-based emerging artist Miya Ando debuts brand-new work in Light Metal, her first solo exhibition in Hong Kong. A descendant of Bizen sword makers, Ando was raised among Buddhist priests in a temple in Okayama, Japan, later settling in California and now working in Brooklyn. Combining traditional techniques of her ancestry with modern industrial technology, she skillfully transforms sheets of burnished steel and anodized aluminum into ephemeral, abstract wall-mounted installations suffused with color.

At the core of Ando’s practice is the transformation of surfaces. She produces light-reflecting gradients on her metal paintings by applying heat, sandpaper, grinders, acid and patinas, irrevocably altering the material’s chemical properties. It’s by an almost meditative daily repetition of these techniques that Ando is able to subtract, reduce and distill her concept until it reaches its simplest form. “I like the idea of using things that are seemingly permanent,” she says. “By applying different techniques, I transform the materials to evoke sky, or water or air—it’s like a transition from the industrial to the natural world.”

Building on this premise of transformation, Ando recently began working with anodized aluminum as well as steel, producing a series of large-scale paintings infused with luminous color—a bespoke palette of muted reds, blues, greens, pinks, purples and gold she conjured from a limited selection of industrial dyes. Ando applies and often hand paints the pigments onto plates of anodized aluminum, which is much lighter than steel, as if they were watercolors. Anodizing—an industrial process in which sapphire crystals are electroplated to the metal—allows the dyes to bond to the material, producing more vivid color. The resulting patterns subtly evoke ethereal, minimalist landscapes and abstracted metallic horizons.

For Ando, the paradoxical pairing of spiritual subject matter with metal is intentional. Not only is it a way for the artist to connect with her heritage but it is also an exploration into the dichotomy and impermanence of the natural world and the man-made world. She says: “My work is an exploration into the duality of metal and its ability to convey strength and permanence, yet in the same instance absorb shifting color and capture the fleetingness of light. It reminds us of the transitory nature of all things in life.”

Miya Ando received a bachelor’s degree in East Asian studies from the University of California, Berkeley, and attended Yale University to study Buddhist iconography and imagery. She apprenticed with the master metal smith Hattori Studio in Japan, followed by a residency at Northern California’s Public Art Academy in 2009. She is the recipient of many awards, including the Bronx Museum AIM Residency in 2013 and the Pollock-Krasner Foundation Grant in 2012. Her work has been exhibited extensively all over the world, including in a recent show curated by Nat Trotman of the Guggenheim Museum. Miya Ando has produced numerous public commissions, notably a thirty-foot-tall commemorative sculpture in London built from World Trade Center steel to mark the ten-year anniversary of 9/11.

Asian Art News
Press
Asian Art News
Miya Ando at Sundaram Tagore Gallery March/April 2014

It really is a wonderful feeling to step into a gallery exhibition and be immediately set at ease by the imagery and colours of the paintings on the walls. So it was with Miya Ando's work in her most recent exhibition entitled Light Metal.

The Standard
Press
The Standard
Steeling the show March 2014

The half-Russian, half-Japanese artist, Miya Ando, first discovered her affinity for metal in a university welding class. She attributes it to the fact that her Japanese ancestors were Bizen swordmakers over a century ago.

Art Radar Asia
Press
Art Radar Asia
Woman of Steel: Miya Ando’s solo debut in Hong Kong March 2014

Brooklyn-based artist Miya Ando shares the unusual combination of traditional Japanese techniques and individual innovations that went into creating her recent body of work, displayed in her first solo exhibition “Light Metal” in Hong Kong.

South China Morning Post / 48 Hours
Press
South China Morning Post / 48 Hours
When many layers make light work February 2014

In her solo exhibition at Sundaram Tagore Gallery, Ando has a selection of her abstract paintings on burnished steel and anodised aluminium.

Wired
Press
Wired
Softer Metal February 2014

Half-Japanese, half-Russian/American metalsmith Miya Ando makes art through alchemy. A recent set of her wall paintings, which emit a “ghostly halo” through phosphorescent pigments painted under the dyes, will be shown at the Sundaram Tagore gallery in Hong Kong throughout February.

Hong Kong Tatler
Press
Hong Kong Tatler
Miya Ando at Sundaram Tagore Gallery January 2014

The up-and-coming New York-based artist exhibits new works in her first Hong Kong solo exhibition.

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