Ebenezer Sunder Singh

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Ebenezer Sunder Singh Biography

Ebenezer Sunder Singh (born 16 April 1967) is an Indian-born visual artist based in Brooklyn, New York. Singh works primarily as a painter, sculptor, photographer and filmmaker. He has been credited as one of the best contemporary figurative artists to emerge from India in recent years.

Singh’s early career began at Cholamandal Artists’ Village, Chennai, the largest artists’ commune in India. His primary visual influences were initially based on Dravidian temple art and its mythological capacity for figuration, but he soon imbued this with elements of the Italian Transavantgarde movement following his exposure to the works of Naples-born painter Francesco Clemente. Singh debuted his paintings and sculptures at a 1996 solo exhibition titled The Hollow Men, The Stuffed Men at Easel Art Gallery. Singh was then chosen to represent India in 1998 at the International Artists Camp held in Sri Lanka, where he worked and exhibited his works alongside German painter Thomas Scheibitz. The following year, Singh received the Charles Wallace Grant and traveled to England, where his illustration and printmaking works were exhibited at Kingston University in a show titled Neti…Neti… Drawing on metaphysical themes of redemptive resurrection and transcendentalism, Singh continued to build an individualistic oeuvre.

In the Indian art sphere, Pundole Art Gallery in Mumbai showcased Singh’s figurative works, as did Anant Art Gallery, Threshold Art Gallery and New Delhi’s contemporary art hub Palette Art Gallery. In 2001, he exhibited his paintings and sculptures at the Museum of Asian Art (Museum für Asiatische Kunst) in Berlin, Germany in a series titled Inspirationen. The Museum of Asian Art later acquired twelve of Singh’s paintings and sculptures for its permanent collection, as did the National Gallery of Modern Art in New Delhi, India, which collected three of his paintings. Singh was awarded the Artist’s Fulbright Fellowship as part of the Fulbright Program and researched on the cathartic symbolism of religious iconography in the context of the east-west subaltern dialogue. For the next decade, Singh continued to exhibit his contemporary figurative works in venues as varied as Barcelona, Budapest, Munich, and Mumbai with pieces as multifaceted as self-portrait photography works, canvases and sequined fiberglass sculptures.

Singh’s photographic self-portraits were chosen to be a part of a traveling exhibition titled Self and the Other – Portraiture in Contemporary Indian Photography that toured through Barcelona and Vitoria-Gasteiz, Spain in 2010. Art historian Deepak Ananth described Singh’s series Wake Me Up When I Am Dead as being “radical and subversive… Ebenezer’s self-portraits reveal a complex iconography, unafraid of their political undertones and repercussions.” Singh’s video art has also received considerable recognition, with pieces such as Master of Arts and Narashimha Avatar being included in short film festivals and exhibitions. Austin Peay State University in Tennessee showcased Singh’s videos in its annual Terminal Short Video Festival in 2011.

In an exhibition titled Radiate: Art of the South Asian Diaspora, Singh’s sculptures and visual works were exhibited at Gallery 400 in the University of Illinois at Chicago and at the Windsor Art Center in Connecticut. Singh’s most recent collaborations with his figurative contemporaries manifested in a 2014 exhibition titled When Marco Polo Saw Elephants, a show reviewed by art critic Susan Dunne of the Hartford Courant. Singh is currently represented by the R L Fine Arts Gallery in New York City.

“Consistently drawing on themes such as redemption, betrayal, guilt, wanderlust and male valor, Singh channels his spontaneity on canvas and sculpture.” He exposes preconceived notions on the seemingly ‘superhuman’ ideal of male virility and societal masculinity. Moved by Nietzschean impulses and Jungian musings on the human psyche, his stylistic intents on canvas, paper and sculpture are deeply expressive and charged, as noted by art critic and Director and Chief Curator of the Kiran Nadar Museum of Art, Roobina Karode. Writing about Singh’s charcoal drawings and fiberglass sculptures in a solo exhibition titled Thus Spake Zarathustra she said, “Ebenezer’s drawings are intensely evocative with their charged malleability… Ebenezer masters the controlled messiness of the medium for its raw appeal and expressivity.”

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