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Beyond Canvas: Paintings on Paper and Metal by Sohan Qadri & Nathan Slate Joseph (New York)    Sep 5 - Oct 12, 2013

Breakfast at the Lowell
Nathan Slate Joseph
Breakfast at the Lowell, 2009
 
Jerusalemstone II
Nathan Slate Joseph
Jerusalemstone II, 2013
 
Tut Blue
Nathan Slate Joseph
Tut Blue, 2007
 
Agamas
Sohan Qadri
Agamas, 2008
 
Avici III
Sohan Qadri
Avici III, 2010
 
Griha
Sohan Qadri
Griha
 
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Sundaram Tagore New York brings together two established artists well known for their innovative use of materials: Indian-born Sohan Qadri and Israeli-American Nathan Slate Joseph. 



Sohan Qadri (1932-2011), who spent much of his working life in Copenhagen, Denmark, was a poet, painter and Tantric yogi. Deeply influenced by Buddhism and the act of painting as part of meditation, he created brightly colored abstract works on heavy paper that combine Tantric symbols and Western minimalism. 



Qadri abandoned representation early on in his long career, instead focusing on abstraction as a means to achieve transcendence. He would bathe paper in water and once it was swollen with liquid, he would rhythmically serrate, puncture and score the surface with various gouging and cutting tools as part of his meditation practice. Imbued with inks and dyes in vibrant hues, the serrated surfaces take on a sculptural quality and appear to pulse with energy and rhythm. In Qadri’s hands, the very nature of paper was transformed from a flat, two-dimensional surface into a three-dimensional medium.



Sohan Qadri was born in 1932 in Punjab, India. He received his MFA from the Government College of Art in Shimla, India. In 1965, he left India and traveled through East Africa, North America and Europe. He eventually settled in Copenhagen where he lived for forty years. His work is included in the Peabody Essex Museum, Massachusetts; the Rubin Museum of Art, New York; and the National Gallery of Modern Art, New Delhi; as well as the private collections of Cirque du Soleil, Heinrich Böll and Dr. Robert Thurman.



Nathan Slate Joseph, who has been an integral part of the New York School of Art for more than forty years, blurs the boundaries between painting and sculpture. Well known for his raw and tactile works that allude to issues of globalization, immigration and climate change, Joseph welds recycled steel plates into intricate, dimensional arrangements.



Joseph begins his creative process by collecting discarded steel shards. After staining them with raw pigment and acid, he exposes them to outside weather conditions. In the process, the steel acquires a unique, rich patina and varied textures. Joseph then cuts the steel plates into various shapes with an acetylene torch and then spot-welds them together. 





The rich, saturated colors of Joseph’s work reference his international roots. Born in Israel to an Austrian father and a mother whose family originated in Afghanistan and Uzbekistan, he settled in New York City in the early 1960s. Much like contemporaries Frank Stella, Carl Andre and John Chamberlain, Joseph began his career by experimenting with scrap metal and other found objects. A shift toward his dramatic color palette was inspired by a visit to Mexico in the 1970s and consolidated Joseph’s contribution to the junk art movement. 



Nathan Slate Joseph has collaborated with the renowned architect Adam Tihany on multiple projects, and his work is installed at Jean Georges at the Trump International Hotel, New York; Inagiku at the Waldorf-Astoria, New York; onesixtyblue restaurant, Chicago; and the Dan Eilat Hotel, Eilat, Israel. He was awarded an Art in Architecture Award from the American Institute of Architects in 2003 for his work on the Harlem Patchwork Building. 
Notable private collectors include artist John Chamberlain, singer-songwriter Joni Mitchell, and chef Jean-Georges Vongerichten. His paintings have been acquired by the Art in Embassies Program, Washington, DC, for United States embassies in Cyprus, Mexico and Turkey. His work was most recently acquired by the Zimmerli Museum in New Jersey.


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