Sumakshi Singh
Circumferences Reforming: Peel till they Bloom

TRIAD: Towards Regional Integration of Artistic Development

November 28, 2012

Sumakshi Singh
Circumferences Reforming: Peel till they Bloom

 7–14 December 2012
Opening: 6 December, 7–10pm

Buena Vista Building
Unit 222
180 NE 39th Street
Design District, Miami 

info [​at​]

The illusions of permanence, fixity and the constant are within the knowledge of the seen and the acknowledgments of the unnoticed. They pair with the comfort of the known to manifest into an ephemeral space of shifting visions and vantage points in Sumakshi Singh’s Circumferences Reforming: Peel till they Bloom. In this series, the artist creates a merger of tangents from Circumferences Forming, Peel till they Bloom, her micro-interventions, perceptual mappings of illusionary spaces upon physical spaces and layered paper drawings. These investigations expand and merge into new languages, which challenge each other to create unique and invented junctures of interaction and relationship with the viewers, the space and other works in the exhibition.

Located in the window is a large archway into the past where one peers into the familiar imagery of a renaissance depiction of an annunciation scene. The passage of the animation follows a shaft of sunlight as it traverses into an obscure European church with similar architecture and fourteenth-century frescoes within this arched window at Buena Vista in Miami.

Singh constantly refers the virtual and multiple reality of her work to Maya; saying that it “traverses the lines between Metaphor, Reality and Illusion.” This stirring notion takes on another metaphor in the artist’s watercolors and the layered drawings. One encounters a tangible aspect of the moving images behind this tinted skin into which Singh breathes in her micro-interventions. Curious layers peel away to create an imagined awareness of the sense of movement within these references of history and details that are to follow. There is a reflection of microcosmic elements that derive their silhouettes from organic forms in nature.

These appearances explode into the stretch of Singh’s Peel Till They Bloom, as they break the boundaries of a framed work to re-form circumferences from other elements in the exhibition, while also creating a new version of trained seeing and looking for the viewer. The work questions the notion of territory, by demanding attention of vision from the viewer, to embed into their minds, micro-interventions of thought processes. The outburst gradually becomes subtle into the artist’s “contained pockets of activity” in the “living membranes” of animation embedded in the wall.

Singh constantly involves the viewers’ gaze in the space, as she progressively begins to disperse the micro-interventions into niches and places below or above eye-level. Just as one gets accustomed to this “peripheral vision” of mushrooming blooms of micro-interventions, they find that the frescoes of the European church from the window have migrated into a projection, which they find themselves a part of, along with borrowed visions from other outside elements. Multiple spaces become blurred while trying to create an understanding of the free movement of images below the skin of the wall, and then eventually between the outside and the inside; the real-space and the mind-space. 

Singh subtly plays with the fragility of phenomena and perceptions experienced through her works, referring to it as “an investigation through the non-linear filter of art making of: What is permanent and unchanging? What is real and how do we recognize it? History is no longer seen as a recounting of facts. It is increasingly hard to locate the ‘real’, the ‘fixed’ and the ‘certain.’” From tiny fractures in the wall, to peeling layers of wall surfaces, these amoeboid, amorphous and occasionally fractured, rectilinear shapes shed away all pre-conceived notions to bloom into a new world of reformed circumferences that leave centers everywhere.

–Abstract from Circumferences Reforming: Peel till they Bloom, by Veeranganakumari Solanki

Sponsored by: 
Miami Design District  – Amplio Group – Fulano. – “I’ve Been Framed”
TRIAD is a registered not for profit organization in England and Wales ( 8101270)