JUNE 17 SOLO EXHIBITION SELECTED BY Judy Hecker, Director of International Print Center New York and former Assistant Curator, Department of Drawings and Prints, The Museum of Modern Art (MOMA)
Pictured: "Phenomena Grid"
ARTNET NEWS: The Rubin Museum of Art Asia Week Celebration at the Rubin Museum of Art
Guests enjoyed cocktails and hors d’oeuvres as the Rubin Museum for its annual Asia Week celebration on March 16. The party provided guests a last chance to see the exhibition “Nepalese Seasons: Rain and Ritual,” which closes March 27.
The highlight on the night was a participatory art installation by Miya Ando, of a delicate mandala made from bleached and dyed Bodhi leaves. “It’s a type of tree that the Buddha gained enlightenment under,” the artist explained to artnet News. “The mandala represents the universe—there’s a continuum. And leaves fall, then they come back every year.”
The piece was displayed in the museum’s Art Lounge, and guests were invited to make a wish and drop a leaf from the balcony above, an action reminiscent of the Japanese tradition of tying strips of paper after making a prayer at a temple. “There’s something really ethereal about how a leaf falls,” Ando added.
Artist Miya Ando makes a wish by dropping a Bodhi leaf on her Wishing Mandala below. Photo courtesy the Rubin Museum of Art.
I am very honored to have one of my 'Kumo' (Cloud) paintings acquired by LACMA (The Los Angeles County Museum of Art) for their permanent contemporary collection.
This series is ink on stainless steel and stainless alucore. I have always been intrigued by the way that metal reflects and redirects light. My intention was to capture the fleeting and transitory qualities of clouds in the sky.
Pictured: Kumo (Cloud) 49.6, 49" x 49", ink on stainless steel alucore, 2016
Sundaram Tagore Gallery presents a group show featuring paintings, installations and photographs that transcend cultural boundaries, created by artists living and working between cultures, giving their work a dynamic, global perspective: Hiroshi Senju, Miya Ando, Sohan Qadri, Jane Lee and Edward Burtynsky. The diversity of content, technique and medium is a testament to the gallery’s long-standing mission, which is to spark cross-cultural dialogue.
Pictured: Miya Ando, Spring Faint Sky Blue Lavender, 2015. Courtesy of the artist and Sundaram Tagore Gallery, Hong Kong.
ABOUT THIS EXHIBITION
Taking the Lunar New Year as its inspiration, this group exhibition explores the moon in its rhythm and regeneration in the practices of four gallery artists: Miya Ando, Ricardo Mazal, Sohan Qadri and Susan Weil.
Mexican-born artist Ricardo Mazal's series of abstract paintings are a result of his examinations into the sacred burial rituals of three diverse cultures, each of which embrace spiritual regeneration in alliance with the natural world. The moon-like mandalas of Miya Ando, a descendant of Bizen sword makers, shimmer with celestial energy, creating a moment of quiet contemplation. The vibrantly colored minimalist works of artist, poet and Tantric guru Sohan Qadri were produced while the artist was in a rhythmic trance, focused on opposing forces, such as creation and destruction, and as was typical of the yogi-artist, with reverence to the mysteries of the universe. Finally, American artist Susan Weil uses lunar themes throughout her practice to refer to the constant regeneration of nature. Perhaps a symbol of feminine power, these illuminated works further call upon the moon’s connection with the human body.
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Miya Ando @ Nancy Toomey Fine Art, San Francisco
"These paintings on steel and fabric of dusky sunsets and shimmering moonrises turn what are normally (at least in painting) static events into animate fields whose reflective and refractive surfaces issue a kaleidoscopic montage of shifting colors. They mimic the way the sun changes the “temperature” of light, obscuring the true color of everything it strikes. By synthesizing that phenomenon, Ando enables us to enact it at our own pace, transforming what begins as a mere visual sensation into something approximating a ontological quest." David M Roth
By Meher McArthur
Buddhistdoor Global | 2016-12-23
Yugen Gold Blue, Miya Ando, 2016. Urethane, pigment, resin, and aluminum,
22x22 inches. Image courtesy of the artist
Miya Ando’s painting Yugen Gold Blue is a Zen koan of sorts. The nocturnal seascape, lit by the hazy glow of a rising moon, is at once a portrait of emptiness (Skt: sunyata) and a representation of the profound nature of the universe; a vision that would not seem contradictory to Buddhist practitioners. Rendered on aluminum using techniques inspired by those of ancient Japanese swordsmiths, the work is solid and rich in surface texture, the delicately detailed waves recalling the subtle hamon pattern* along the edge of a masterfully forged sword blade. The gentle hint of light reflected on the sea’s surface infuses the work with a suggestion that there is much lying beneath the calm surface, as implied by the Japanese word yugen, which means “mysterious” or “suggestive.” Though often highly industrial and technically painstaking, many of Ando’s works—from her metal paintings to her works in graphite on paper and her Bodhi leaf mandalas—possess a meditative quality and sense of yugen, born from Ando’s own cultural roots and her ongoing Buddhist practice.
Miya Ando: Kumo (Cloud) for Glass House (Shizen) Nature Series
Miya Ando: Kumo (Cloud) for the philip johnson Glass House (Shizen) Nature Series
Surface & Depth... An Interview With Miya Ando - Artist
By Carroll Gray
Miya Ando is an internationally respected and honored artist who works primarily with light and metal surfaces, notably aluminum, on which she applies pigments and urethanes, creating evocative naturalistic imagery which also retains a powerful sense of abstraction. Her ability to produce remarkably “real” clouds and rain in glass blocks is nothing short of magical and otherworldly. This is technique raised to a level of the mysterious.
Miya’s treatment of surface requires an extraordinary level of ability, knowledge and skill, and her technique combines subtlety and understatement with a planetary scope of view. She captures oceans, skies, air, clouds, permanence and impermanence, time and timelessness, with an apparent ease (this is only the appearance of ease, what Miya accomplishes is very difficult to achieve) that is captivating. Her work produces an immediate emotional response which wells up, sometimes quite unexpectedly, into a feeling of universality and enormity.
As can be seen from Miya’s answers to this writer’s questions, as well as in the video interview, below, she is extremely articulate and humble about her abilities, constantly seeking renewed expression, and “non-attachment” - a comment which provides insight into how deeply felt her work is, for she removes herself from it, permitting her work to assume its own presence and sense of being.
What are your thoughts and feelings about sharing your artworks ?
I think of artwork as part of a dialogue or conversation as opposed to a soliloquy. The artist makes a work and the viewer responds. I very much like to think of the making of art as participating in this form of communication, one that occurs whether I myself am physically present or not. I like the idea of a silent/non-verbal communication.
Do you ever feel vulnerable presenting your evocative artworks to gallery patrons ?
Yes I think it is natural to feel a vulnerability any time one has given one’s very best effort. I practice a non-attachment both in the making of and exhibiting of the works because ultimately I can only make that which I’m making.
Do you have thoughts to share about the differences between gallery patrons and museum visitors as viewers of your artworks ?
A non-commercial context may impact the work, it also may not. Each viewer I believe has a unique experience. The new works speak to this as the focus is on the experiential quality of the paintings and sculpture.
Do you believe that art is universally understandable ?
There may be artworks which evoke or conjure feelings, experiences and senses which are perceived by most, so yes.How they are perceived may vary greatly, however.
All art is rooted in the culture from which it arises, but does it therefore have limited appeal ?
I was raised in Japan and in California so I have a different perception of this question. Is my work therefore appealing to only half-Japanese and half-Russian American people who lived in a Buddhist temple in Japan and a redwood forest in Santa Cruz? I hope not.
Is an understanding of the cultural context of a work of art necessary for the viewer to fully appreciate the work ?
No. It is a different understanding that’s all.
In today’s commercial and artistic worlds, can an artist have great success, such as you have had and are having, acting only by themselves ?
Definitely not, I think most achievements are the sum of the efforts of many people collectively.
Do you determine everything about your works or do the works themselves sometimes suggest paths to follow ?
Each work comes out of the last. The artworks are in a progression of thought for me and have been since I began in 2002. A continuum of thought.
How would you characterize the visual arts scene today, vibrant ?... imaginative ?... repetitive ?... or... ?
Exciting, vibrant, global with all the artfairs, interconnected and very interesting and dynamic. Manhattan where I am based is particularly so.
How important are social connections and personal relationships in developing a successful career as an artist ?
I think in life relationships are the key to happiness. In art it is no different, I feel grateful daily for having the presence of longtime dealers, collectors, friends and colleagues in my life.
It seems obvious that your family’s legacy of sword making has influenced your art, but to what degree and in what ways ?
Mostly as a way to investigate the idea of identity, perception and time.
Do you consider yourself fluent in multiple mediums ?
I consider myself a person who respects and studies very carefully multiple mediums.
Is self-reflection difficult for an artist ?
It shouldn’t be. Introspection and focus are imperative and should be cultivated.
Where would you want your career to be in 10 years ?
I hope to continue my practice and continue making things which interest me.
Miya Ando can be reached via her website at http://www.miyaando.com
UPCOMING EXHIBITIONS OF MIYA ANDO’S ARTWORK
September 8 - October 29, 2016 - Tasogare/Twilight (The Time of Moonlight, Sunlight and Starlight) - Winston Wachter Fine Art, Seattle, Washington
September 10 - October 15, 2016 - Ginga (The Silver River/Galaxy) & Mandala - Lora Schlesinger Gallery, Santa Monica, California
Follow Carroll F. Gray on Twitter: www.twitter.com/carrollfgray
Ginga ("The Silver River" / "Galaxy") and Mandala opening Saturday September 10 #losangeles @loraschlesingergallery
In Buddhism, a mandala represents the universe and is traditionally used in meditation. These mandalas are created using Bodhi (Ficus Religiosa or Bodaiju) skeleton leaves from the Bodhi tree, the species of tree under which The Buddha gained enlightenment.
“Tasogare (Twilight) The Time of Moonlight, Sunlight & Starlight),” a solo exhibition by American minimalist artist Miya Ando will run at Winston Wächter Fine Art, Seattle, from September 8 through October 27, 2016. The artist creates thoughtful landscapes on metal using dye, urethane, and resin in a way that pays homage to the Japanese heritage of sword-making and Buddhism.
For her solo exhibition, Ando focuses her attention on the moment that exists right at hand and reminds viewers that time is both transitional and temporal. The careful selection of materials helps the artist to create pieces that play with light, transforming with each angle and viewer.
The title “Tasogare” is Japanese for twilight, that time of the day when sunlight, moonlight, and starlight combine to transform the evening sky. -