Sumakshi Singh’s veiled installations of architectural façades and botanical forms transport viewers into realms shaped by the specters of memory. Crafted from delicate silk and cotton spun into webs of lace, these environments are sites of transience where time, space, and perception feel fluid. Since 2015, the New Delhi-based artist has worked with embroidery techniques passed down from her grandmother that expanded her existing drawing practice into three dimensions. This tender act of connecting and mending has become a way to preserve recollections of her grandparents’ former home in Delhi, which they built and tended to for decades following their displacement during the 1947 Partition of India. Singh recreates the building’s features and fissures in ethereal detail through her long-standing series 33 Link Road (2019– ), named after her grandparents’ address. Although now demolished, the building is memorialized through Singh’s art, which has been exhibited across Asia, Australia, Europe, and the US. This recently culminated in Permanent Address (2026), Singh’s largest to-scale reimagining of the former home, presented at the Indian pavilion of the 61st Venice Biennale. In our forthcoming issue, Johanna Bear delves into Singh’s diaphanous anti-monuments that reflect on impermanence, as well as what it means to remember, rebuild, and find beauty in the shadows that haunt us. 

Johanna Bear is a curator and writer based on Gadigal Country, Sydney. She is the assistant curator of contemporary Australian art at the Art Gallery of New South Wales and also ArtAsiaPacific’s Sydney desk editor.