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Individual Projects

Threshold

2026

Silk, cotton, and nylon thread stretched on steel frames

Installation area dimensions:  97 in x 45 in

 

 

Shown as part of Avatar: Forms of Vishnu at the Art Gallery of New South Wales,  Australia.

Detail: Threshold

2026

Silk, cotton, and nylon thread stretched on steel frames

 

 

Shown as part of Avatar: Forms of Vishnu at the Art Gallery of New South Wales,  Australia.

Detail: Threshold

2026

Silk, cotton, and nylon thread stretched on steel frames

 

 

Shown as part of Avatar: Forms of Vishnu at the Art Gallery of New South Wales,  Australia.

Threshold

2026

Silk, cotton, and nylon thread stretched on steel frames

 

 

Shown as part of Avatar: Forms of Vishnu at the Art Gallery of New South Wales,  Australia.

Spanning the Void

2025

Silk and nylon thread

19 ft x 8 ft (approx.)

 

 

Shown in Cheongju Biennale, Korea.

Spanning the Void

2025

Silk and nylon thread

19 ft x 8 ft (approx.)

 

 

Shown in Cheongju Biennale, Korea.

Detail: Spanning the Void

2025

Silk and nylon thread

 

 

Shown in Cheongju Biennale, Korea.

Spanning the Void

2025

Silk and nylon thread

19 ft x 8 ft (approx.)

 

 

Shown in Cheongju Biennale, Korea.

Spanning the Void

2025

Silk and nylon thread

19 ft x 8 ft (approx.)

 

 

Shown in Cheongju Biennale, Korea.

Installation view: Transience Monuments

2025

Thread and steel wire

Dimension variable 

 

 

Shown at Asia Now 2025, in collaboration with Gallery 193 and Tak Contemporary at Monnaie de Paris.

Installation view: Transience Monuments

2025

Thread and steel wire

Dimension variable 

 

 

Shown at Asia Now 2025, in collaboration with Gallery 193 and Tak Contemporary at Monnaie de Paris.

Column

2025

Thread and steel wire

Dimensions: 107 x 24 x 1 in

 

 

Shown at Asia Now 2025, in collaboration with Gallery 193 and Tak Contemporary at Monnaie de Paris.

Column

2025

Thread and steel wire

Dimensions:

105 x 24 x 1 in

 

 

Shown at Asia Now 2025, in collaboration with Gallery 193 and Tak Contemporary at Monnaie de Paris.

Spiral Staircase

2025

Thread

12 ft x 5 ft

 

 

Shown at Asia Now 2025, in collaboration with Gallery 193 and Tak Contemporary at Monnaie de Paris.

A Blueprint of Before and After

2018

Thread and steel wire

Dimensions variable

 

 

Shown at Mobilier Nationale, Paris.

 

 

Installation view: A Blueprint of Before and After

2018

Thread and steel wire

Dimensions variable

 

 

Shown at Mobilier Nationale, Paris.

 

Detail: A Blueprint of Before and After

2018

Thread and steel wire

 

 

Shown at Mobilier Nationale, Paris.

 

Detail: A Blueprint of Before and After

2018

Thread and steel wire

 

 

Shown at Mobilier Nationale, Paris.

 

 

Detail: A Blueprint of Before and After

2018

Thread and steel wire

 

 

Shown at Mobilier Nationale, Paris.

 

“Looking for Absolutes in A Relative World”
(2025, video, 43 mins) is a video which documents the artist inscribing ephemeral sentences with ink on the surface of water. Each phrase articulates a yearning for stability, meaning and permanence even as the inked words ripple, distort and dissolve. As they lose their coherence, the bleeding words surrender their capacity to contain meaning, echoing the poignant (and ultimately unattainable) pursuit of constancy in a medium (water) that inherently resists it.

Excerpt: Looking for Absolutes in A Relative World

This video documents the artist inscribing ephemeral sentences with ink on the surface of water. Each phrase articulates a yearning for stability, meaning and permanence even as the inked words ripple, distort and dissolve. As they lose their coherence, the bleeding words surrender their capacity to contain meaning, echoing the poignant (and ultimately unattainable) pursuit of constancy in a medium (water) that inherently resists it.

Memory Is (2)

2025

Silk thread on layers of translucent fabric

20″ x 18″

 

 

Shown in Lost in Translation, Threshold Art Gallery, New Delhi

Memory Is (1)

2025

Thread drawing and shadows

10 ft x 7.5 ft

 

 

Shown in Lost in Translation, Threshold Art Gallery, New Delhi

Detail: Memory Is (1)

2025

Thread drawing and shadows

 

 

Shown in Lost in Translation, Threshold Art Gallery, New Delhi

Detail: Memory Is (1)

2025

Thread drawing and shadows

 

 

Shown in Lost in Translation, Threshold Art Gallery, New Delhi

Read about this project
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CHEONGJU BIENNALE: Spanning the Void

Created for the Hyundai Translocal Series, which invited artists from the UK, Korea, and India to form new connections and pathways, this work takes the bridge as its starting point. A bridge is an architectural improbability—it leaps across the void, an architecture in air, creating a path where none existed before. Rendered in white thread and drawn from a bridge encountered near a Korean temple, the form is stripped of weight and function, sustained instead by tension, repetition, and belief. Embedded within the structure is a swastika motif, a symbol that traveled from India to Korea with the spread of Buddhism, quietly carrying histories of movement, faith, and transformation across cultures.

 

ASIA NOW 2025: Transience Monuments
(Shown at Monnaie de Paris in collaboration with Gallery 193 and Tak Contemporar)

The exhibition showcases embroidered sculptures reflecting on the personal and cultural architectures that shape our sense of meaning and belonging — reimagining spaces and reenacting memories. From demolished structures to fading monuments, the exhibition unfolds from the artist’s personal archive, weaving together inheritance and imagination. Singh creates life-size staircases recalling her ancestral home and columns inspired by the 13th-century Qutub Minar. As solid forms collapse and lose their significance, Singh offers a poetic reimagination of “soft monuments” that hold the weight of memories and losses, proposing repair through craft and care.

Transience Monuments invites us to reconsider what truly endures, proposing an idea of permanence that shifts from material weight to emotional resonance, existing in what is felt, remembered, and shared.

 

MOBILIER NATIONALE: A Blueprint of Before and After
(Shown in Ce qui se trame. Exhibition designer: Christian Louboutin)

Excerpt from text by Mayank Mansingh Kaul

This site-specific work features visual artist Sumakshi Singh’s enigmatic “gardens” of memory and light. Here they first encounters a ghost-like memory of the garden, as they observe floating, uncoloured, skeletal forms, made of thread and lace using embroidery techniques.

However, while in the embroidering act the image is literally tied down to its ground (fabric), here the artist removes the base, leaving the image itself levitating and permeated with space like an embroidery on air. These baseless thread sketches are reduced to their flat, white essence creating the blueprint of a Garden — in the process of becoming or perhaps recorded as the aftermath of a garden that once existed.

The work responds to the presentation of historical and contemporary expressions of handmade lace in this section. This creates a conversation between what is seen as quintessentially a French medium, and one which has emerged independently out of her own practise through the act of embroidery.


LOST IN TRANSLATION

Memory Is (1, 2025, 10ft X 10ft, thread) is a layered tapestry of floating words which  juxtapose sentimental clichés with scientific insights about the nature of memory. Registering more through shadows than physical presence the woven words underscore how memory, while vital to identity, is inherently unstable—prone to distortion and reinterpretation. Alive and mutable, it continuously reshapes the past, and by extension- keeps reframing our understanding of who we are, where we stand and where we are going. Translation through memory involves inevitable losses or additions raising the question whether memory serves as a reliable anchor for identity or an ever-shifting lens through which we construct meaning.

Looking for Absolutes in A Relative World (2025, video, 43 mins) is a video which documents the artist inscribing ephemeral sentences with ink on the surface of water. Each phrase articulates a yearning for stability, meaning and permanence even as the inked words ripple, distort and dissolve. As they lose their coherence, the bleeding words surrender their capacity to contain meaning, echoing the poignant (and ultimately unattainable) pursuit of constancy in a medium (water) that inherently resists it.