Asia Society Texas Center features the exhibition "Form is Emptiness, Emptiness is Form:" Works by Miya Ando. Drawing on the important Buddhist text known as the Heart Sutra, Ando responds to our unique building with references to elemental materials such as metal, light, water, and wood. This site-specific response to Yoshio Taniguchi's architecture reframes the visitor's perception of the space, and invites contemplation of the nature of reality.
In addition to water and light, the exhibition makes use of wood and metal that Ando has altered by natural physical treatment such as sculpting and charring, as well as by chemical and electrical processes. Ando herself is installing the works throughout the Grand Hall, the North Gallery, and just outside the Louisa Studio Sarofim Gallery, in a site-specific response to Yoshio Taniguchi’s architecture.
The exhibition will remain on display through March 29, 2020
Asia Society Texas Center features the exhibition "Form is Emptiness, Emptiness is Form:" Works by Miya Ando. Drawing on the important Buddhist text known as the Heart Sutra, Ando responds to our unique building with references to elemental materials such as metal, light, water, and wood. This site-specific response to Yoshio Taniguchi's architecture reframes the visitor's perception of the space, and invites contemplation of the nature of reality.
In addition to water and light, the exhibition makes use of wood and metal that Ando has altered by natural physical treatment such as sculpting and charring, as well as by chemical and electrical processes. Ando herself is installing the works throughout the Grand Hall, the North Gallery, and just outside the Louisa Studio Sarofim Gallery, in a site-specific response to Yoshio Taniguchi’s architecture.
The exhibition will remain on display through March 29, 2020
Asia Society Texas Center features the exhibition "Form is Emptiness, Emptiness is Form:" Works by Miya Ando. Drawing on the important Buddhist text known as the Heart Sutra, Ando responds to our unique building with references to elemental materials such as metal, light, water, and wood. This site-specific response to Yoshio Taniguchi's architecture reframes the visitor's perception of the space, and invites contemplation of the nature of reality.
In addition to water and light, the exhibition makes use of wood and metal that Ando has altered by natural physical treatment such as sculpting and charring, as well as by chemical and electrical processes. Ando herself is installing the works throughout the Grand Hall, the North Gallery, and just outside the Louisa Studio Sarofim Gallery, in a site-specific response to Yoshio Taniguchi’s architecture.
The exhibition will remain on display through March 29, 2020