“A single object exhibition.
On this “Object in Focus”” Series – 3, we are featuring an internationally renowned contemporary artist Ang Tsherin Sherpa. On this series we will be focusing on his work titled “ … and the winner is”. The opening will be followed by an interaction with the artist at 5:15PM.

Born in Kathmandu, Nepal in 1968, Tsherin Sherpa currently works and resides between California (USA) and Nepal. From the age of 12, he studied traditional Tibetan thangka painting with his father Master Urgen Dorje. In 1998, Sherpa immigrated to California, where he taught traditional thangka painting at various Buddhist Centers until he began to explore his own style-reimagining tantric motifs, symbols, colors and gestures placed in resolutely contemporary compositions. Sherpa borrows imagery from classical traditional Buddhist iconography to abstract, fragment and reconstruct the image to investigate and explore his personal diasporic experiences and the dichotomy found where sacred and secular culture collide. By employing mass culture’s ubiquitous noise, Tsherin imports these representations into a heightened dialogue where Buddhist cultural icons and global affairs can renegotiate into a mirror-like transmutation. Sherpa has exhibited across United States, Europe and Asia. His work is included in private collections around the world, as well as in the collections of the Asian Art Museum, San Francisco; the Queensland Art Gallery & Gallery of Modern Art, Brisbane ; the Rubin Museum of Art, New York ; the Victoria & Albert Museum, London etc.
Artist Statement
Through the lens of the Himalayan Diaspora, my work simultaneously deals with the preservation and transformation of a scattered culture, by bridging the sacred and secular,the past history and contemporary. As a nomadic people over centuries,we’ve learned to harness the ability to adapt into many different environments.By observing this migration,my own experiences & cultural specificity are explored through depiction and reappropiation of Himalayan traditional iconography.”