Time Won’t Tell
“Time won’t tell explores themes of inheritance, transgenerational trauma, love and activism: Some artists in this show are taking inventory of where we are as a society as they propagate deliberately, while others look at what it means to be left with things unsaid. They note bitter-sweet connections with loved ones and explore family histories. No longer counting on time to be a balancing force they highlight social structures that continue to misrepresent and restrict, and they recompose embedded anthems.”
- Farah Mohammad
Featuring work from Jovita Alvares, Ivana Carman, Kevin Claiborne, Noga Cohen, Takuji Hamanaka, Melissa Joseph, Lucy Kim, Ruhee Maknojia, Cheryl Mukherji, Luján Perez, Hafsa Riaz, Keli Safia Maksud, and Shahzia Sikander.
Curated by Farah Mohammad
Keli Safia Maksud
Untitled Composition I, 2021.
Cyanotype dyed in Mate Tea.
15 x 21 in (38.1 x 53.34 cm).
$500 Inquire
“Currently, I am particularly interested in how space is constructed through music and sound. In a sense, national anthems can be thought of as sonic borders but as we know, sound is omni directional and cannot be contained. As such, I am interested in notions of uncontainability and use ideas based on leakage (as in acoustic leakage) and bleed (as in light or sound bleed) as a framework to think about excess (as in being in excess of). Untitled Composition I and II were made with these ideas in mind.”
- Keli Safia Maksud
Read Keli’s interview here.
Shahzia Sikander
Embark/Disembark III, 2004.
Offset lithograph and screenprint.
18 x 15 in (45.72 x 38.1).
Sold
Courtesy of The LeRoy Neiman Center for Print Studies.
Noga Cohen
Head Over Heels, 2021.
Mixed media (foldable table, plastic, wax, fiberglass)
22 x 36 x 39 in (56 x 91.5 x 99 cm).
$5,200 Inquire
“I found pieces of furniture and wanted to deconstruct them in order to have a better understanding of each one and its relationship to the body. I broke them in my studio and put the broken pieces back together in different ways, suspended from the ceiling. A big part of my process is working through a cycle of destroying and healing, breaking and fixing. I started wrapping the suspended broken structures with wrapping nylon, to activate the negative spaces, gravity and weight of the objects.”
- Noga Cohen
Read Noga’s interview here.
Hafsa Riaz
Nigehbaan, 2020.
Etching.
14.5 x 9.25 in (36.8 x 23.5 cm).
$350 Inquire
“Nigehbaan depicts the action of presenting women for the pleasure of others; a tolerable practice in our society. It further highlights the acceptance of the event.”
- Hafsa Riaz
Read Hafsa’s interview here.
Ivana Carman
Note That Day, 2019.
Acrylic on canvas.
20 x 16 in (50.8 x 40.64 cm).
$1,500 Inquire
Ivana Carman
Note That Night, 2019.
Acrylic on canvas.
20 x 16 in (50.8 x 40.64 cm).
$1,500 Inquire
“The two paintings come from a period in my life where I experienced deep loss and heartbreak. So, for me the duo of Note that Night and Note that Day speaks to the blending of time one experiences in a state of loss; where days and nights merge into one.” - Ivana Carman
Read Ivana’s interview here.
Cheryl Mukherji
Promise Me, 2020.
Digital found video, spoken word.
7 mins 35 seconds.
$15,000 Inquire
“I have been watching my mother through a live surveillance feed since January 2019. The cameras were installed in the living room, backyard, and other common spaces of our home to watch over our sick dog five years ago as and when we were unable to be there for her. No one bothered to pull it down after she passed away. It kept watching us for many months after I moved to New York City from India… I use surveillance as a medium to understand my role as a caregiver to my mother. Having outgrown our customary mother-daughter roles through distance, I watch her out of concern for her health, and my homesickness in the face of my dislocation in a new country.”
- Cheryl Mukherji
Read Cheryl’s interview here.
Takuji Hamanaka
Four standing lights, 2021.
Collaged woodcut.
14.5 x 10.5 in (36.83 x 26.67 cm).
$2,200 Inquire
“This is one of recent work where I used metallic foil on the ground. I am fascinated by the effect this new material can convey… I’m interested in trans-placing characteristics effect and technique found in printmaking and bringing something unique to centuries old craft.”
- Takuji Hamanaka
Read Takuji’s interview here.
Melissa Joseph
Tessy Aunty and Appu in front of a Dodge, Kochi, 2021.
Needle felted wool and sari silk on wet felted wool.
9 x 12 x 1 in (22.86 x 30.48 x 2.54 cm).
“[These] images came from snaps we took while visiting India both as children and as young adults. One is of my cousin Appu with my Aunt Tessy in front of a car in the driveway at my grandparents' home sometime in the early 80s. It was just a normal day. There was nothing particularly notable about the place or time other than the fact that we were there, and we hadn’t been for a few years, and probably wouldn’t be again for a few more.”
- Melissa Joseph
Read Melissa’s interview here.
Auto-Synthetic is an ongoing series on resin casts from a single mold of the artist's body made in 2017. Casts pulled from this mold serve as the support for the paintings, which are approached in an open manner at the time of painting. The works serve as a diaristic marker for the artist's painterly and imagistic interests and concerns, framed by expectations and projections around self-portraiture. The series will continue as long as the artist or the mold survives.
Lucy Kim
Auto-Synthetic (Orange), 2018.
Oil paint, acrylic paint, urethane resin, epoxy, fiberglass, powder-coated aluminum frame.
37 x 23.5 x 2 in.
Melissa Joseph
Dad approaching Sree Padmanabhaswamy Temple, 2021.
Needle felted wool and sari silk on found carpet pad.
7 x 9 x in. (17.78 x 22.86 cm)
“[Dad approaching Sree Padmanabhaswamy Temple] is decades later on a visit to a famous temple in Thiruvananthapuram. We didn’t do many touristy things on our visits because there was always so much family to see. It is a very specific and hyperlocal version of India that I know. An amazing function of capturing this specificity is that it destroys tokenizing aspects of cultural identity and instead (I hope!) exposes a familiarity of the human condition.”
- Melissa Joseph
Read Melissa’s interview here.
“I was thinking about gathering or assembling together, entanglement and metamorphosis of spaces. Many of the ways in which we understand nation states, borders, boundaries, urban cities etc. come from an inherited colonial blueprint but the lived experience is often in excess of this blueprint. These works consider how the boundaries of these blueprints are broken by everyday practices of refusal.”
- Keli Safia Maksud
Read Keli’s interview here.
Keli Safia Maksud
Untitled Composition II, 2021.
Cyanotype.
15 x 21 in (38.1 x 53.34 cm).
Hafsa Riaz
Nagma, 2019.
Etching, artist’s proof.
9.5 x 19.3 in (24 x 49 cm).
$400 Inquire
“Nagma is a reminiscent of a glorified time that was. This particular pattern of the tent was widely used for any and all occasions back when tents were first introduced in Pakistan. It has become a cultural symbol and enhances the confusion of the actuality of the event.”
- Hafsa Riaz
Read Hafsa’s interview here.
Jovita Alvares
The Act, 2021.
Audiovisual media.
3:54 minutes, mp4 format, 1920 x 426 pixels.
$300 (edition of 3 + AP) Inquire
“The Act explores how one’s identity is shaped through the performance of daily life, how one is conformed to carry out tasks and actions in order to appear ‘normal’ in society. It brings into question this idea of performance and whether is truly does halt when no one is looking. Or are we strung into a loop of performativity. If so, what then is true reality? What is true identity?”
- Jovita Alvares
Read Jovita’s interview here.
Ruhee Maknojia
Infected, 2020.
Acrylic on wood.
10 x 9 in.
$950 Inquire
Ruhee Maknojia
Sepulcher, 2020.
Acrylic on wood.
10 x 8 inches (25.4 x 20.32 cm).
$950 Inquire
“The first painting, titled Infected, was made shortly after the World Health Organization (WHO) declared the coronavirus a global pandemic on March 11th, 2020. At the time, I did not know how long the pandemic would last nor the mass loss of life that would follow. The masked figure in the painting is dancing in a groundless space of uncertainty, unsure how history will unfold or be remembered. Despite the uncertainty surrounding COVID at the time, I believed that the WHO’s declaration of the pandemic was significant and not without substantial consequence.
My second painting, titled Sepulcher, was painted a year after Infected. The painting is a response to mass death that followed in the wake of the COVID-19 pandemic. Sepulcher recognizes the strain put on American systems that were never meant to handle and process mass death. Throughout the pandemic, these systems were tested to their limits and revealed to be riddled with mismanagement in certain areas, including the execution of the deceased’s last rites and wishes and the subsequent effects it had on the people left behind. For example, many family members were unable to accompany their loved ones during their final moments and in some cases, were even denied attendance to the funeral itself.”
- Ruhee Maknojia
Read Ruhee’s interview here.
Noga Cohen
Cub Twist, 2021.
Mixed media (foldable chairs, plastic, wax, latex, fiberglass).
20 x 49 x 30 in.
$4,800 Inquire
“I worked with high heat on these pieces. The objects were wrapped, and I melted the plastic with trash and other materials to create textures that resemble bodily qualities. I added fiberglass and hot wax that had a fleshy feeling. The highly unpredictable process fascinates me and the element of discovery in it leads me to explore qualities that are familiar and uncanny at the same time.”
- Noga Cohen
Read Noga’s interview here.
Luján Perez Hernandez
When the Vessels felt like Giants (Albarelo, Pinky Root propagation), 2021.
Multi-block wood cut, handmade oil based inks, oil paint, oil pastels on Evolon hung from magic sculpt and oil paint structures.
42 x 86 in. (106.68 x 218.44 cm)
$7,200 Inquire
Jovita Alvares
Our Anthem, 2021.
3:30 minutes, mp4 format, 1280 x 720 pixels.
$300 (edition of 3 + AP) Inquire
“Our Anthem came about through an ongoing research of a small community in Pakistan, the Goan Christians, of which I connect my lineage. This ethnic minority community has a unique history that has not well been preserved, and I have been slowly collecting and documenting the community through firsthand narratives. The community began when Christians from Goa, India, began travelling to Pakistan during the years surrounding Partition. The work is suggestive of themes of Post Colonialism and Globalization and its ongoing effects, one of which is Homogenization. Through this video work, the foreign language (Konkani- the language of Goa) is bastardized through the computer-generated English pronunciations. The work is satirical as it is a reinvention of one of Goa’s most famous songs, a song revered even by the Pakistani Goans, though the imagery used tell of an eerie history.”
- Jovita Alvares
Read Jovita’s interview here.