GROUP SHOW E-CATALOGUE_w o price_EN

Group Show: Emily Cheng Pearl C. Hsiung Sarah Lee

Exhibition Overview 39+ Art Space is pleased to present a three-woman group show consisting of works by Emily Cheng, Pearl C. Hsiung and Sarah Lee. While vastly different in style and focus, they are united in that they are women of Asian descent pursuing their creative practice in America. Though, rather than being reduced to these straightforward categorizations, Cheng, Hsiung and Lee are adept with interweaving their unique perspectives with their individual theoretical investigations, frequently citing feminine energy, eastern artistic sensibilities, and eastern philosophies as driving forces in their explorations of more universal subject matter. The showcased works will explore themes ranging from the very humanly structural concepts of knowledge and power to critical re-evaluations of the anthropocentric sublime, to the cosmic bridge between mind, space, and spirit. These women boast rich understandings over history and philosophy, and display visually impactful command over composition, color, and scale. The exhibition will be on view from 8 July to 28 August 2022.

Emily Cheng

Beyond Majestic III 2022 Flashe on Canvas 122 x 91 cm

Sevenpoints 2018 Flashe on Canvas 122 x 91 cm

Beyond Majestic I 2022 Flashe on Canvas 122 x 91 cm

Red Empress 2021 Flashe on Canvas 81 x 61 cm

Receiving, Sending 2022 Flashe on Woodboard 28 x 36 cm

Emily Cheng (b. 1953) Like the artist, Emily Cheng’s resplendent masterpieces are larger than life. Achieving a wicked blend of both Eastern and Western art historical traditions, Cheng’s work stands out as landmarks of aesthetic investigations into the spiritual. Through the radially composed imagery that characterizes her work, Cheng’s masterpieces recall the brilliance of Hilma af Klint’s practice – regaled as the first abstract artist known to Western History. Deftly applied, Cheng’s signature pastel-hued strokes are light and flowing, suffusing the canvases with simultaneous qualities of airiness and concentrated spiritual intensity. The iridescent colors that she favors elevate these hypnotic compositions, lulling observers into a near dream-like, spiritual trance. Through her syncretism, Cheng’s work goes far beyond a splendid analog of af Klint’s creations. Rather, her oeuvre marries the eclectic spirituality of af Klint and the aesthetic explorations of traditional Chinese Art. Unlike many of her peers who disavow their cultural-artistic heritage in favor of a more universal, clinical style, Cheng pays reverent homage to her Chinese roots. After completing her tertiary education at the prestigious Rhode Island School of Design, Cheng sojourned to her native China, immersing herself in traditional forms of art, which include Buddhist Cave Paintings, ink-drawn landscapes, and calligraphy. At the same time, she acquainted herself with Eastern thought, enriching the existing aesthetic investigations into the metaphysical she had just begun to embark on. Cheng’s work transcends the reductive taxonomy of abstraction, bleeding into the genre of spiritual painting, often interpreted as an attempt to ground the spiritual in the physical. These radiating, circular forms that pervade Cheng’s colorful compositions are suggestive of energy auras that mystics believe emanate from the individual. On the other hand, they are reminiscent of planetary orbs that evoke the cosmos. “A lot of what I’m painting doesn’t exist in the visible world”, she proclaimed. Indeed, it is almost impossible not to engage the very vicissitudes of our imagination when staring at her work. In an illuminating interview with Hyperallergic, Cheng credits her former teacher, Nick Carone, as being her greatest influence. Under his tutelage, she learnt that within every painting lay the infinite potential for “unseen images” that would linger in an observer’s psyche long after they take their eyes off it. The more powerful the unseen image, the more powerful the work of art. Her work is all but a prime example. In many instances, visuals and words are simply not commensurable. “I want to tap into energy that can’t be named,” declares Cheng of her ethos. Indeed, her works are charged with an inexplicable magnetism, ringing true a desire to visually articulate what can only be felt. Therein lies her true genius. Beyond generating thematic and stylistic reverberations throughout her oeuvre, Eastern culture and thought plays a big role in inspiring Cheng’s creative process. Influenced by the Taoist

belief that individuals are merely physical bodies in flow with the greater universe, Cheng, through her work, seeks to foster a connection between the observer and this unseen force that transcends the self. Admittedly, the spiritually charged rationale driving Cheng’s creative output can be rather elusive. Nevertheless, just looking at the formal aspects of her work alone, they are visual tour de forces. The coalescence of sumptuous textures and dynamically fluid forms, makes every painting, without a doubt, a masterpiece that commands the gallery. With a career spanning over 4 decades, Cheng has exhibited all around the world. She graduated from the prestigious Rhode Island School of Design in 1975 and has shown her work in MOCA, Taipei; MOCA, Shanghai; Guangzhou Triennial; Louis Vuitton, Kowloon; Metropolitan Museum of Manila; The Cincinnati Center of Contemporary Art. She has also been the recipient of several awards including the New York Foundation of the Arts, the National Endowment for the Arts, Pollock Krasner Award and a Yaddo Fellowship.

Pearl C. Hsiung

Phoenix II 2022 Acrylic on Canvas 76.2 x 61 cm

Baubo 2017 Acrylic on Canvas 123 x 91 cm

Wetter 2016 Acrylic on Canvas 76.2 x 61 cm

Sige 2017 Acrylic on Canvas 101.6 x 76.2 cm

Simurgh 2015 Oil-Based Enamel on Canvas 76.2 x 76.2 cm

Body God 2016 Oil-Based Enamel on Canvas 81.3 x 81.3 cm

Pearl C. Hsiung (b. 1973) A pop surrealist artist, Pearl C. Hsiung flawlessly translates textured vistas of color onto her extensively interdisciplinary portfolio, that includes large scale paintings and installations, to strike viewers with awe. Her prolific oeuvre is an aesthetic exploration of a single gripping question - “how should we relate to nature?” Through rendering brilliantly colored abstractions of various landscapes and natural phenomena, Hsiung launches into an investigation on the limitations of human subjectivity in understanding the world around us. Constantly evolving and critically re- evaluating her practice, Hsiung’s practice represents an outstanding level of technical and academic rigor. Both artist and philosopher, Hsiung seeks to deconstruct the real and perceived boundaries separating human and nature, as well as conceptions of their duality. Primarily through her experiments with video, she brings these ideas out into an order of social space, beyond the pictorial plane. In such works, she contemplates the intercession of civilization, nature, and the constructed images that suffuse our everyday life. Born in Taichung, Taiwan but raised in the contemporary metropolis of L.A., Amercian pop culture and L.A. street art thus make veiled appearances in such works. Her use of stark graphics and hard-edged application techniques in them also reflect her upbringing in these cities. Hsiung’s career as an artist belies that she is conversant with how absurdly protean nature is - as are we humans, biologically, socio-culturally, anthropologically. Flitting from one art form to another, be it painting, video or installation, she nevertheless retains an interest in the organic states of physical, psychical, and metaphysical metamorphosis. These transformations play out in anthropomorphizing landscapes that witness the collision and collapse of the geological and biological, raising questions about the very nature of nature. Furthermore, through her ever-changing oeuvre, she attempts to emulate the unending processes of reorganization and transmogrification which nature and human nature undergoes. Despite Hsiung’s penchant for depicting the natural world, she weaves in threads of fantasy and lighthearted sci-fi undertones. Her work is a fascinating study of the interplay between nature and the crown jewel of human progress - technology. She is a master of fashioning surrealistic landscapes, dipping her brush into a palette of electric and somber hues, allowing us to enter a technicolor dream. In some way, the hyper-realities she composes appear flattened into tiers of color, thus lacking an internal plasticity. However, this is a pointed creative decision; a product of her unique stylistic methods, in which she attempts to imitate computer graphics by hand. Hsiung’s works are also a call for active self-reflection, offering us a space for meditative respite. Her abstract creations are populated by features that resemble nature’s creations. For example, chutes and abysses, which suggest portals to transcendent psychic states and otherworldly territories. Ever so immersive, these works testify the power of nature and abstraction interwoven into human consciousness.

“It sucks you in. It commands you. Eventually, it possesses you”. Declares the author, Kyle Fitzpatrick. Critically re-evaluating her previous explorations with of the sublime, Hsiung now returns to the eastern philosophy of the Dao – which focuses on integrating and embracing the vastness, infinity, and darkness which nature holds, instead of maintaining the romantic ideals of reverence and fear. Standing before her work, we start to accept and appreciate that humanity is only just a small part of this complex and beautifully nuanced cosmos. Graduating with a MA in Fine Arts from Goldsmiths, London in 2004, Hsiung has shown her works internationally over the past 2 decades. She has exhibited in solo shows in Los Angeles, London and China as well as in group exhibits such as The Beyond; Georgia O’Keeffe and Contemporary Art at the North Carolina Museum of Art and Crystal Bridges Museum of Art; Made in L.A. 2012 at the Hammer Museum, California Biennial 2006 at the Orange County Museum of Art; Busan Biennale 2006 at Museum of Modern Art in South Korea and Expander at the Royal Academy of Arts in London. In 2015 she was awarded a CCF Fellowship for Visual Arts. She has been commissioned for a large-scale, tile mosaic mural for the Grand Av Arts/ Bunker Hill Metro station opening in downtown Los Angeles in 2022.

Sarah Lee

Trick or Treat 2021 Oil and Acrylic on Canvas 152.5 x 183.5 cm

The Entombment of the Body 2021 Oil and Acrylic on Canvas 161.8 x 130.2 cm

The Punishment 2021 Oil and Acrylic on Canvas 72.3 x 90.8 cm

“What did it matter where she came from, or whose child she was, when love was dancing in her veins?” 2021 Oil, Acrylic and Pastel on Canvas 130.3 x 388 x 3 cm



Sarah Lee (b. 1990) Energetic strokes, splendid colors, and thorough investigations into epistemological structuralism – Sarah Lee’s works are as philosophically discursive as they are emotionally charged. Boasting an impressive command over art history, Lee boldly reinterprets works that have sat firmly in pre-Modernism for centuries such as Velazquez’s Las Meninas and Caravaggio’s Entombment of Corpus. Bursting with youthful vigor, Lee recaptures these historical masterpieces with chaotic, gestural strokes representing the academic ideals of expressionism. Thickly applied in alla prima, swathes of paint create invisible structures across the canvas that vitalize each painting with unmistakable intensity. Deliberate in her aesthetic explorations, Lee views abstract expressionism and historical allusions as important tools for structuralist discourse. In her recent show: Episteme: A Free Man’s Yoke (2021), Lee evokes the Foucault-described phenomenon of the Episteme: an orderly ‘unconscious’ structure based on the production of scientific knowledge at a particular time and place. Foucault argued that history was sequentially edited by posterity and that regulations and social structures of the contemporary era were built upon the pan-social system. Through her critical investigations of such and adjacent political theory, Lee uses her paintings to delve into questions on true freedom and power dynamics throughout the course of history. Through her inexhaustive academic inquiry, Lee makes use of historically esteemed baroque paintings as reference points to suggest the complex, web-like and unconscious structures we are built upon, acutely observing the intrinsic presence of religion, wars, myths, and power in artworks of the old masters. Expressing expert command over her medium, Lee utilizes highly decorative background strokes and deconstructed human representations to suggest the dominion of history and the written narratives over the individual characteristics or personal desires and choices. Lee’s choice to reanimate the classics is deeply connected with what seems to be her deep affinity with abstract expressionism. She uses expressionistic and gestural brushstrokes with diverse palettes to convey the interplay between opposing ideas, the gray-area of representation and abstraction, primitiveness and sophistication, intuition and logic, and attraction and repulsion to encounter the subjective nature of the mind. The push and pull of the colorful strokes can explode, lead, reveal, or hide, allowing the painting to change its mind. Seemingly chaotic gestures are simultaneously constraint and meticulously structured. Lee’s spectacular visual language allows the audience to question and push the boundaries within the system. Born 1990 in Manhattan, New York, Lee received her BFA from Art Center College of Design, California in 2016, but later pursued her MBA from Seoul National University in Seoul, Korea in 2021. In an interview with 39+ Art Space, Lee expresses that her thought process is heavily influenced by the clash between the two cultures that she calls hers, but at the same time

cannot fully live up to. Living in between two different cultures, she constantly observed and ambitiously learned the differences, undoubtedly motivating her pursuits in theories that govern the formation of knowledge and the validity of the boundaries various cultures have erected. Nevertheless, Lee observes that increased connectivity and accelerating technological and capitalistic advancement has affected many more people in such ways. As she notes, “nowadays everyone is a nomad and [an] ‘in-between’”. Lee was born in 1990 in Manhattan, New York, and began studying Fine Art painting at the Pratt Institute of Fine Arts located in Brooklyn before moving to California in 2013. She received her BFA from Art Center College of Design in 2016, and MBA from Seoul National University in Seoul, Korea in 2021. She is currently based in Los Angeles. She held her first solo exhibition, I Am Not Unconscious, in February 2016, followed immediately by Ignis Fatuus, in July 2016. She most recently had a solo show: Episteme, A Free Man’s Yoke in March 2021, which took place in Seoul, Korea.

Installation View, 39+ Art Space, July 2022 Image by 39+ Art Space



Installation View, 39+ Art Space, July 2022 Left to right: Trick or Treat (2021), The Punishment (2021), The Entombment of the Body (2021) Image by 39+ Art Space

Installation View, 39+ Art Space, July 2022 Left to right: Phoenix II (2022), Baubo (2017), Wetter (2016) Image by 39+ Art Space

Installation View, 39+ Art Space, July 2022 Left to right: Beyond Majestic III (2022), Sevenpoints (2018), Beyond Majestic I (2022) Image by 39+ Art Space



Artist CVs

Emily Cheng Education 1979 New York Studio School of Painting, Drawing and Sculpture, New York, NY, USA 1975 Rhode Island School of Design, B.F.A. Painting, Providence, Rhode Island, USA Solo Exhibitions 2020 “Charting Sacred Territories”, Palais Lichtenstein, Feldkirch, Austria 2019 “some things unnamed” Johanniterkirche, Feldkirch, Austria 2017 “FromBelowToAbove” Pablo Gallery, Manila, Philippines Illes Arts, Amaganett, New York, NY, USA 2015 “RoundSky”, Shenzhen Art Museum, Shenzhen, China “RoundSky, Paintings by Emily Cheng”, Hanart T.Z. Gallery, Hong Kong 2014 “From Heaven to Earth”, Da Wang Culture Highlands, Shenzhen, China Ille Arts, Amagansett, New York, NY, USA 2013 “WholeInOne”, Zane Bennett Contemporary, Santa Fe, New Mexico 2011 ”Meander and Morphosis: Charting the Nature of Interior Spaces” Hanart T.Z. Gallery, Hong Kong “Charting Sacred Territories” MOCA Taipei, Taipei, Taiwan 2010 “Emily Cheng: Circle of Time”, Louis Vuitton Maison, Kowloon, Hong Kong 2008 “Across the Providence” curated by Hoon Jung Satori Gallery, New York, NY, USA 2007 “Emily Cheng Drawings”, Timezone 8, Beijing and Shanghai, China 2006 “LotusCloudTreeMist”, Ayala Museum, Makati, Philippines “CloudMistTree”, Winston Wächter Fine Art, New York, NY, USA 2005 “Refresh!”, 2x13 Gallery, New York, NY; with Ran Huang, curated by Lilly Wei “Triple Candie”, Facade Project, New York, NY, USA 2004 “Jewel in the Heart” with Lois Conner, Plum Blossom Gallery, New York, NY, USA 2002 “Almost Mapped and Charted”, Winston Wächter Fine Art, New York, NY, USA “Almost Mapped and Charted”, Schmidt/Dean Gallery, Philadelphia, PA Hobart and William Smith College Gallery, New York, NY, USA 2001 Byron Cohen Gallery, Kansas City, MO, USA 1998 “Emily Cheng New Paintings”, Schmidt/Dean Gallery, Philadelphia, PA, USA 1997 Metropolitan Museum of Manila, Philippines Christine’s Gallery, Baguio City, Philippines John Post Lee, Projects Room, New York, NY, USA 1996 “Configured: Paintings by Emily Cheng” catalog essay by Lilly Wei & Tsong Zung Chang, Hanart T.Z. Gallery, Hong Kong 1994 “Enigmatic Puzzles: A Melding of East and West” curated by Elaine King, Contemporary Arts Center, Cincinnati, Ohio, USA 1993 Schmidt/Dean Gallery, Philadelphia, PA, USA 1992 David Beitzel Gallery, New York, NY, USA Schmidt/Dean Gallery, Philadelphia, PA, USA

1990 Lang & O’Hara Gallery, New York, NY, USA Schmidt/Dean Gallery, Philadelphia, PA, USA 1989 The Bronx Museum, Bronx, NY, USA 1988 Lang & O’Hara Gallery, Philadelphia, PA, USA 1987 Lang & O’Hara Gallery, Philadelphia, PA, USA 1985 White Columns, New York, NY, USA 1983 Pittsburgh Plan for Art, Pittsburgh, PA, USA 55 Mercer Street Artists, Inc., New York, NY, USA Selected Group Exhibitions 2019 B.A.T. State II, SoLA Gallery, Los Angles, CA, USA B.A.T. State III, Carolyn Campagna Kleefeld Contemporary Art Museum, Long Beach, CA, USA ”The Garden of Winter Light”, Hanart Gallery, Hong Kong 2017 Art Basel Hong Kong, Hanart Gallery, Hong Kong 2016 ”Self-Cultivation-The Personal Technology of Living”, Ying Arts Center, Shanghai, China 2014 Lange Nacht in den Gerichtshöfen, Gerichtshöfen, Berlin, Germany Feral Objects, Creon, New York, NY, USA B.A.T., Off Ramp Galler, Pasadena, California, USA “Inspired by Dunhuang: Re-creation In Contemporary Chinese Art”, China Institute, New York, NY, USA 2013 Beijing Art Fair (with Space Station), Beijing, China 2012 “I am you and you are me, perhaps” curated by Kevin Power, Galleria Juan Silio, Santander, Spain “Transnational Narrations: Paperworks”, Bangkok University Gallery, Bangkok, Thailand 2011 “Color and Line”, Thompson & Giroux Gallery, Chatham, New York Summer Show, Hanart Gallery, Hong Kong Architectural Museography, prints from el Nopal Press, Morono Kiang Gallery, Los Angles, CA, USA 2010 Towards Transculturalism, curated by Qian Zhijian, catalog, Museum of Chinese in America, New York, NY, USA El Ultimo Libro, Zentral Bibliothek, Zurich, Switzerland “10th Anniversary”, Kidspace, MASS MoCA, Williamstown, MA, USA 2009 Cross Currents, 2 person show The Lobby Gallery @ 499 Park Avenue, New York, NY, USA “Metaphors of Un/Real, Animamix Biennial 2009-2010” Museum of Contemporary Art - Shanghai, Shanghai, China 2008 Across the Providence, 2 person show, Satori Gallery, New York, NY, USA “Farewell to Post Colonialism, Guangzhou Triennial”, Guangdong Museum of Art, Guangzhou, China “Mei Guo”, Contrast Gallery, Shanghai and Beijing, China, Curated by Lilly Wei Singapore Art Fair, Singapore 2007 “Year of the Pig”, Elga Wimmer PPC, New York, NY, USA

“Touched by Women’s Hands”, curated by Lin Yan, Flushing Town Hall, Queens, NY, USA 2006 “Dragon Veins” Contemporary Art Museum, USF, Tampa, Florida, USA 2005 “Microcosm”, Brewery project Space, Los Angeles, CA, USA “Magical Gardens”, Kidspace at MASS MoCA, North Adams , MA, USA 2004 “Hanart 20th Anniversary Exhibition”, Hong Kong Arts Centre, Hong Kong “The Annual”, American Academy, New York, NY, USA 2003 “Radical Line,” curated by Ethan Cohen, Museum at Bowling State University, Ohio; USA “Rally for Triple Candie” Triple Candie , New York, NY, USA 2002 DDM Warehouse, Shanghai, China “Visual Dialogue”, China 2000, New York, NY, USA “Longmarch Project”, Maotai, China “Mural”, Asilah Arts Festival, Asilah, Morocco “The Players-Asian American Art”, Asian American Art Center, New York, NY, USA “Faculty Exhibition”, Anderson Ranch, Snowmass, CO, USA 2001 “China Without Borders”, Sotheby’s, New York, NY “Plant Life”, Schmidt Dean Gallery, Philadelphia, PA, USA “Transpoly Blue”, Elliot Smith Gallery, St. Louis, MO, USA 2000 “8.30.00”, Gallery 138, Kent State University, Kent, Ohio, USA “Twice Born: Beauty”, The Mills Gallery, Boston Center for the Arts, Boston, MA, USA “Abstraction in Painting”, Castle Gallery, College of New Rochelle, NY, USA “The Figure: Another side of Modernism”, Newhouse Center, Snug Harbor Cultural Center, Staten Island, NY, USA “Crossing Borders”, Bowman, Penelec & Megahan Galleries, Meadville, PA, USA “Sensibilities”, Boothe Contemporary Art, Wakefield, RI, USA “LaCoste 1999”, Alliance Francaise, New York, NY, USA “What Goes Around”, Katonah Museum of Art, Katonah, NY, USA “American Academy of Arts and Letters Invitational Show”, American Academy, NY, USA “OVERTHETOPFRENZY”, Kingsborough College Art Gallery, NY, USA 1999 “Working Together”, The Art Museum, University of New Hampshire, Durham, NH, USA “The Masters of Graphic Arts, International Biennial”, Municipal Museum of Gyor, Hungary “THE STROKE”, Exit Art, New York, NY, USA “Personal Visions, A Survey of Contemporary Photography”, Ayala Museum, Makati, Philippines 1998 “Rose Selavy”, Jefferson Bank, Philadelphia, Pennsylvania, USA “Urban Encounters”, New Museum of Contemporary Art, New York, NY, USA “Group Show”, Debs & Co., New York, NY, USA “Faculty Show”, Anderson Ranch Gallery, Aspen, CO, USA “Preview”, Byron Cohen Gallery, Kansas City MO, USA “Group Show”, Jon Oulman Gallery, Minneapolis MN, USA “Part of the Fabric”, Rhode Island School of Design Museum, Providence, RI, USA 1997 “1997 Art on Paper”, Weatherspoon Gallery, Greensboro, NC, USA

“Teenage Mutant Ninja Turtles, NOT”, Parsons School of Design Gallery, New York, NY, USA “ABOX”, Marsha Meteyka Gallery, Washington, D.C., USA “March Six”, Ikon Gallery, Los Angeles, CA, USA “Group Show”, Katherine E. Nash Gallery, University of Minnesota, MN, USA 1996 “Photographism in Painting”, New York catalog, Pratt Manhattan Galleries, NY, USA “Special Exhibition, Iris Prints”, Los Angeles Art Exo, 1996, Los Angeles, CA, USA “Allegory and Identity”, Visceleglia Art Center, Caldwell, NJ, USA “New York”, 3 person show, Kunsthaus in Hofgarten, Munich, Germany “Patchwork”, Andre Zarre Gallery, New York, NY, USA “The Electric Muse”, Mazmanian Gallery, Framingham State College, MA, USA “Painting ‘96”, Sharadin Art Gallery, Kuztown Univ., Kutztown, PA, USA 1995 “Digital Dialects, New Paradigms”, Creiger-Dane Gallery, Boston, MA, USA “Master of Graphics Art International Biennial”, Muveszeti Museum, Gyor, Hungary “Group Show”, Stonehouse Gallery, Litchfield, MA, USA “Not Not Part 1”, E.S. Vandam Gallery, New York, NY, USA “Contradictory Conclusions”, The Gallery at Northhampton, PA, USA “Asian Reflections”, New York University, New York, , NY, USA “Works on Paper”, S. Cono, Brooklyn, NY, USA 1994 “East/West, Cross Culture Influences in Painting”, E.S.Vandam, New York, NY, USA “Flooding Camera”, The Workspace, at Dolgeros, Newman and Cronin; New York, NY, USA “Couples”, Elga Wimmer Gallery, New York, NY, USA The Computer in the Studio,” De Cordava Museum and the Computer Museum, Boston, MA, USA “Transsexualism”, Mark Moore Gallery, Santa Monica, CA, USA “Crash”, Thread Waxing Space, New York, NY, USA “New Old Masters”, Center for the Arts, San Fransisco, CA, USA “Monoprint Invitational”, Horodner Romley Gallery, New York, NY, USA “Nine Months”, Howard Yezerski Gallery, Boston, MA, USA 1993 “Malta’s Cradle: Reflections on the Abyss of Time”, Solo Press Gallery, NY, USA “Exquisite Corpse”, Drawing Center, NY; traveled to Corcoran, Washington, D.C., USA, Santa Monica Museum, Santa Monica CA, USA; The Forum for Contemporary Art, St. Louis MO, USA; American Center Paris, France “Tabu”, Four Walls, Brooklyn, NY, USA “Women’s Art Women’s Lives, Women’s Issues”, Tweed Gallery, New York, NY, USA “Appraising the Preternatural”, Patricia Shea Gallery, Santa Monica, CA, USA “Songs of Retribution”, Richard Anderson Gallery, New York, NY, USA “Art in the Age of Information”, Pittsburgh, PA, USA 1992 “1992, Art on Paper”, Weatherspoon Gallery, Greensboro, NC, USA “Paper Houses”, David Beitzel Gallery, New York, NY, USA “Group Show”, Albright-Knox Museum, Buffalo, NY, USA “Ornament: Ho Hum All Ye Faithful”, John Post Lee Gallery, New York, NY, USA “Allusions/Illusions”, David Beitzel Gallery, New York, NY, USA “Group Show”, Schmidt/Dean Gallery, Philadelphia, PA, USA

“Abstraction/Distraction”, Richard Anderson Gallery, New York, NY, USA “External Fantasies, Internal Realities”, Security Pacific Galleries, Los Angeles, CA, USA 1990 “Group Show”, Mathew Scott Fine Art, Los Angeles, CA, USA “Group Exhibition”, Schmidt/Dean Gallery, Philadelphia, PA, USA “Large Drawings”, Lang and O’Hara Gallery, New York, NY, USA 1989 “Mystery”, New Visions Gallery, Ithaca, New York Bard College Gallery, New York, NY, USA Bevier Gallery, Rochester Institute of Technology, Rochester, NY, USA “100 Drawings By Women”, catalog, Blum Helman Gallery, Hillwood Art Gallery New York, NY, USA 1988 “Mutations”, Anina Nosei Gallery, New York, NY, USA “Imprimatur”, Greenville County Museum of Art, South Carolina & North Carolina Museum of Art, USA “Double Visions”, Hallwalls, Buffalo, NY, USA Longwood Art Gallery, Bronx Council of the Arts, New York, NY, USA “The Inscribed Image”, Lang and O’Hara Gallery, New York, NY, USA “Four Corners of Abstraction”, White Columns, New York IGI’88, New York, NY, USA 1987 “Drawings of the Eighties”, Carnegie Mellon University Gallery, Pittsburgh, PA, USA “Group Show”, Cone Editions, New York, NY, USA 1986 “Small Scale Abstractions”, Grace Borgenicht Gallery, New York, NY, USA “24X24”, Ruth Siegel Gallery, New York, NY, USA “Abstraction, Abstraction”, Carnegie Mellon University Gallery, Pittsburgh & Klein Gallery, Chicago, IL, USA 1985 “Group Show”, Barbara Toll Gallery, New York, NY, USA “Small Works”, Gabriel Bryers Gallery, New York, NY, USA “Exhibit A”, Brooklyn County Courthouse, Brooklyn, New York, NY, USA “Abstract Issues”, Oscarson Hood Gallery, Tibor de Nagy, New York, NY, USA “Non-Objective World-1985”, Kamikaze, New York, NY, USA “Update 84-84”, White Columns, New York, NY, USA “10 Downtown”, Michael Katz Gallery, New York, USA “Nancy Davidson, Fontaine Dunn and Emily Cheng”, AIR Gallery, New York, NY, USA “Surplus”, Exit Art, New York, NY, USA “Emily, Anna and Ti Shan”, Asian Arts Institute, New York, NY, USA “Forecast: Images of the Future”, Kenkeleba, New York, NY, USA “Spiritual Climates”, Thorp Intermedia Gallery, New York, NY, USA 1984 “New Abstraction”, Tibor de Nagy Gallery, New York, NY, USA “Abstract Drawings”, New York University, New York, NY,. USA 1983 “Women Make History”, Edith Macy Conference Center, New York, NY, USA “Terminal New York”, Brooklyn Army Terminal, New York, NY, USA “Hong Kong, Tokyo, New York”, Kenkeleba, New York, NY, USA “In Arcadia”, Lucy Strike, New York, NY, USA 1982 “Contemporary Shields”, Galerie des Refuse, New York, NY, USA “30 New York Painters”, Hobart and William Smith College, Geneva, NY, USA “Lee Tribe, Emily Cheng and Vivian Sheihing”, SUNY Gallery, Purchase, NY, USA 1980 “New Talent”, Nardin Gallery, New York, NY, USA

Awards, Grants and Artist Residency 2010 Pollock-Krasner Foundation Grant 1996 New York Foundation for the Arts Fellowship 1995 Yaddo Fellowship 1982-1983 National Endowment for the Arts Fellowship

Pearl C. Hsiung Education 2004 MA Fine Art, Goldsmiths College, London, UK 2003 Postgraduate Diploma Fine Art, Goldsmiths College, London, UK 1997 Bachelor Of Arts, School of Art and Architecture, University of California - Los Angeles, Los Angeles, CA, USA Solo Exhibitions 2022 Public Art Commission, METRO Los Angeles, Grand Av Arts/Bunker Hill Station, Los Angeles, CA, USA 2019 Fault Zone, Visitor Welcome Center, Los Angeles, CA, USA 2018 Two Faces, One Die, College of the Canyons Art Gallery, Valencia, CA, USA 2017 Full Gorge, Visitor Welcome Center, Los Angeles, CA, USA 2015 Whiskeytown, O.N.O, Los Angeles, CA, USA 2014 Yellowstoner, Human Resources, Los Angeles, CA, USA 2011 Gusher: Pearl C Hsiung, Selected Works 2003 - 2011, Vincent Price Art Museum, East Los Angeles College, Monterey Park, CA, USA 2010 Never Ends, Steve Turner Contemporary, Los Angeles, CA, USA 2007 Eroto Erupto Infinito, Steve Turner Contemporary, Los Angeles, CA, USA 2006 To the Big Life, Max Wigram Gallery, London, UK 2004 Overfiend, MW Projects, London, UK Pearl C. Hsiung, Upriver Gallery, Kunming, China Selected Group Exhibitions 2022 The Hearing Trumpet; Part I, Marguo, Paris, France 2021 Culver@10, UCR Arts, Culver Center of the Arts, Riverside, CA, USA 2019 Candlewood Arts Festival, Borrego Springs, CA, USA 7 of Cups, QueensLA, Los Angeles, CA, USA The Beyond; Georgia O’Keeffe and Contemporary Artists, catalogue, New Britain Museum of American Art, New Britain, CN, UK The Beyond: Georgia O’Keeffe and Contemporary Art, New Britain Museum of American Art, CN, USA New Suns, Páramo Gallery, Guadalajara, Mexico 2018 Present Progressive, Setareh Gallery, Dússeldorf, Germany The Beyond: Georgia O’Keeffe and Contemporary Art, Crystal Bridges Museum of American Art, Bentonville, AR, USA Glass Tamborine, Guggenheim Gallery at Chapman University, Orange, CA, USA 2017 Epochal Aeration: Or, The Slow Hand, Fourteen30 Contemporary, Portland, OR, USA

2016 Second Wave: Aesthetics of the 80s in Today’s Contemporary Art, UCR ARTSblock, Sweeney Art Gallery, Riverside, CA, USA We Are Los Angeles, Grand Park, Los Angeles, CA, USA 2015 Surface of Color, The Pit, Glendale, CA, USA Above/Below/Within, Meliksitian Briggs, Los Angeles, CA, USA AmazoNIGHT, 3 Days Awake, Los Angeles, CA, USA 2014 Landscape City, Center for the Arts Eagle Rock, Los Angeles, CA, USA The Outlanders, The Pit, Glendale, CA, USA Tender Buttons, Hockney Gallery, Royal College of Art, London, UK 2013 Landscape Into Abstraction, catalogue, Orange County Museum of Art, Newport Beach, CA, USA The Archaic Revival - Rotterdam, Zic Zerp Gallery, Rotterdam, Holland Speak! Clown, Fold Gallery, London, UK Love Is Not In Control, New Jerseyy Gallery, Basel, Switzerland 2012 Made In L.A. 2012, catalogue, Hammer Museum, Westwood, CA, USA Chasm of the Supernova, Center for the Arts Eagle Rock, Los Angeles CA, USA 2011 The Archaic Revival, Las Cienegas Projects, Culver City, CA, USA 2010 New Art for a New Century: Contemporary Acquisitions 2000 - 2010, Orange County Museum of Art, Newport Beach, CA, USA TILT, Artist Curated Projects, Los Angeles, CA, USA 2009 OZ: New Offerings from the Angel City, Regional Museum of Guadalajara, Mexico Bitch is the New Black, Honor Fraser, Los Angeles, CA, USA Los Angeles: Aspects of an Archaic Revival, USCHI KOLB Gallery, Karlsruhe, Germany 2008 Oddball-er, Fold Gallery, London, UK The View, Steve Turner Contemporary, Los Angeles, CA, USA Acclimatation, catalogue, The Centre National d’art Contemporain, Villa Arson, Nice, France Disorderly Conduct: Art in Tumultuous Times, Orange County Museum of Art, Newport Beach, CA, USA Harlem Postcards: Spring 2008, The Studio Museum in Harlem, New York, NY, USA 2007 humor us, Los Angeles Municipal Arts Gallery at Barnsdall, Los Angeles, CA, USA Imaging and Imagining California Modern, Orange County Museum of Art, CA, USA Near Dark, Donna Beam Gallery, Las Vegas, NV, USA 2006 California Biennial 2006, catalogue, Orange County Museum of Art, CA, USA Busan Biennale 2006: CAFE 1, catalogue, Busan Museum of Modern Art, Busan, South Korea The Golden Egg, catalogue, Philspace, Santa Fe, NM, USA 2005 Follow Me: A Fantasy, Arena 1 Gallery, Santa Monica, CA, USA Expander, catalogue, The Royal Academy of Arts, London, UK New British Painting: Part II, catalogue, John Hansard Gallery, Southampton, UK Transmogrifications, Danielle Arnaud, London, UK 2003 The Red Mansion Art Prize, Lethaby Gallery, Central Saint Martins College of Art, London, UK Goldsmiths Graduates 2003, Mirko Mayer, Cologne, Germany chockingfuckerblocked, Jeffrey Charles Gallery, London, UK

2000 The Revolutionary The Power of Women’s Laughter, China Art Objects, Los Angeles, CA, USA Selected Screenings 2017 Fair Play, Brickell Center, Miami, FL, USA M.A.R.S. Festival, Art Share L.A., Los Angeles, CA, USA 2015 Opening Night, The Situation Room, Glassel Park, CA, USA 2012 Cinemarfa, Marfa, Texas, USA 2011 The Big Screen Project, Medial Lounge, CAA Conference 2011, New York, NY, USA Whole Halves, Human Resources, Los Angeles, CA, USA 2006 Dreamcenter LA, Drake Hotel, Toronto, Canada 2005 Sparks Video International, Spark Contemporary Art Space, New York, NY, USA 2004 Timepop, Prince Charles Cinema, London, UK Awards, Grants and Artist Residency 2015 CCF Fellowship for Visual Arts, Getty Fellow 2015, Mid-Career Artist National Park Services - Artist in Residence, Santa Monica Mountains, Santa Monica, CA, USA 2014 National Park Services - Artist in Residence, Whiskeytown National Recreation Area, Redding, CA, USA Pearl C. Hsiung presents Original Face, P3 Studio Residency curated by the Art Production Fund, New York, NY, USA 2012 We Are Talking Pyramids, Public Art Residency at Heart Of Los Angeles (HOLA), Los Angeles, CA, USA 2010 USA Projects Grant, United States Artists, Los Angeles, CA, USA 2003 Red Mansion Art Prize and Residency in Kunming China, Red Mansion, London, UK Selected Bibliography 2019 Funderburk, Amy. How Georgia O’Keeffe’s Themes and Style Have Flowered in Contemporary Art. Hyperallergic.com, January 2019. 2017 de Dobay Rifelj, Clare. Pearl C. Hsiung at Visitor Welcome Center, Contemporary Art Review Los Angeles, June 2017. 2014 Fitzpatrick, Kyle. The Rhythms of Nature: Pearl C. Hsiung’s Yellowstoner, Los Angeles I’m Yours, March 2014. Stouffer, Hannah, ed., Pearl C. Hsiung in Juxtapoz Psychedelic (Berkeley: Gingko Press Inc., 2014). 2012 Nys Dambrot, Shannon. Made In LA 2012; Pearl C. Hsiung, art ltd, July 2012. Cheh, Carol. Hammer Museum‘s Made In L.A.’ the City‘s First Biennial is a Winner Despite its Vastness, LA Weekly, June 2012. Finkel, Jori. Made In LA, Los Angeles Times, June 2012. Van Hoy, Justin, ed., “Pearl C. Hsiung” in Milk And Honey: Contemporary Art in

California (Los Angeles: AMMO Books, LLC, 2012). 2011 Dalton, Trinie. Critics’ Pick Los Angeles, Artforum.com, November 2011. Taft, Catherine, Gusher: Pearl C Hsiung, Selected Works, p. 2 -3. 2010 Knight, Christopher. Our World and Welcome To It, Los Angeles Times, October 29, 2010. 2008 Mizota, Sharon. Disorderly Conduct: Recent Art in Tumultuous Times, Los Angeles Times, February 10, 2007. Rock, Neal. Pearl C. Hsiung, Whitehot Magazine, October 2007. 2006 Gonzalez, Rita. California Biennial, p.96-99. Knight, Christopher. The Faces of This Place, Los Angeles Times, October 7, 2006. Schwabsky, Barry. Pearl C Hsiung. Art Forum, April 2006, p. 263. Kent, Sarah. Pearl Hsiung, Time Out London, February 15-22, 2006, p. 35. 2004 Smith, Dan. Debut: an Emerging Artist’s Solo Exhibition, Art Review, March 2004, p. 97. Ivan-Zadeh, Larushka. Young At Art, Evening Standard Magazine, June 11, 2004, p 52. Foster, Stephen. New British Painting, p. 17–10.

Sarah Lee Education 2021 MBA, Seoul National University, Seoul, South Korea 2017 Gunmyungwon, Seoul, South Korea 2016 BFA, Art Center College of Design, Pasadena, CA, USA 2014 Seoul National University, Seoul, South Korea 2013 Fine Art, Pratt Institute, Brooklyn, NY, USA Selected Solo Exhibitions 2021 Episteme, A Free Man’s Yoke, Gallery Punto Blu, Seoul, South Korea 2016 I Am Not Unconscious, Art Center College of Design, Pasadena, CA, USA Ignis Fatuus: a room of my own, Art Center College of Design, Pasadena, CA, USA Duo Exhibition 2021 [Framed Superiority], Gallery Punto Blu, Seoul, South Korea 2018 Poetic Disharmony, Gallery Pont des Arts, Seoul, South Korea Group Exhibitions 2017 HIS Art Fair, Imperial Palace Hotel, Seoul, South Korea 2016 Leveled, Art Center College of Design, Pasadena, CA, USA Fearless Moves, Art Center College of Design, Pasadena, CA, USA Art Fairs 2019 Palm Springs Art Fair, California, USA 2018 Seoul Art Show, Seoul, South Korea 2017 Imperial Palace Hotel Art Fair, Seoul, South Korea Curatorial Projects 2016 Leveled, Art Center College of Design, Pasadena, CA, USA Fearless Moves, Art Center College of Design, Pasadena, CA, USA

Awards, Grants and Artist Residency 2016 AC Departmental Scholarship, Art Center College of Design, Pasadena, CA, USA Provost’s List (GPA above 3.8), Art Center College of Design, Pasadena, CA, USA 2015 Pasadena Art Alliance, Art Center College of Design, Pasadena, CA, USA Provost’s List (GPA above 3.8), Art Center College of Design, Pasadena, CA, USA 2014 San Marino Art League, Art Center College of Design, Pasadena, CA, USA Provost’s List (GPA above 3.8), Art Center College of Design, Pasadena, CA, USA 2013 Art Center 100 Annual, Art Center College of Design, Pasadena, CA, USA Provost’s List (GPA above 3.8), Art Center College of Design, Pasadena, CA, USA 2010 Scholarship, Pratt Institute, Brooklyn, NY, USA 2008 Korea, Japan, China Joint Art Contest 1st Place Winner (Painting) in Spain Zaragoza Expo, Zaragoza, Spain Co-curricular activities 2016 Club Art Center Korean Association President, Art Center College of Design, Pasadena, CA, USA 2015 Club Art Center Korean Association President, Art Center College of Design, Pasadena, CA, USA 2014 Club Art Center Korean Association President, Art Center College of Design, Pasadena, CA, USA San Marino League Luncheon Scholarship Recipient Exhibition, Art Center College of Design, Pasadena, CA, USA Grapes vs. Grains, Art Center 100 Scholarship Recipient Exhibition, The California Club, Los Angeles, CA, USA

39 Keppel Road, #03-01 Tanjong Pagar Distripark Singapore 089065 Tuesday - Friday: 11–7pm; Saturday & Sunday: 12–6pm By appointment only: Monday & Public Holidays Email: [email protected] Phone/WhatsApp: +65 9776 0403