Everything philosophy and science teaches us exponentially exposes all that we do not know — the light of knowledge illuminates the edges of the vast invisible. Sandeep Mukherjee’s work, shown at Sister Gallery in the heart of Chinatown, performs a similar operation. Spinning colors in a centrifugal trajectory, Mukherjee’s work moves endlessly outwards, aiming for the edges of infinity. Comprehending infinity, a goal that can be articulated but never directly obtained, is here made visible in a series of powerful pictorial gestures, sophisticated in their simplicity and relevant in their preoccupation with art historical concerns.
When entering the tall space of the gallery, the entire room seems to pulse with the work’s rhythmic breath. Hung only on one side of the gallery, five consecutive panelsof radiant ochre, olive-green, brandy, lavender, and petroleum blue spirals reside in a chiseled topography of embossed Duralene (a frosted, translucent material that resembles vellum). Dimension is rendered both optically and physically. This complex juxtaposition activates a viewer’s vision as well as engendering a more physical sensation of the work in the gallery space.
