Miya Ando

Born in 1973 in Los Angeles, Miya Ando uses a wide variety of materials such as steel, wood, glass, aluminum, and paper to create paintings, drawings, sculptures, and installations. Ando skillfully fuses the traditional and the contemporary, the industrial and the organic, and East and West in her work, capturing the ephemerality of nature through a refined aesthetic sensibility.
The artist’s recent solo exhibitions include Vespertine Clouds (Yūgumo), Sundaram Tagore Gallery (Singapore, 2024); Sky Atlas, Wilding Cran Gallery (Los Angeles, 2023); Waiting for the Moon, Bolinas Museum (Bolinas, CA, 2023) and Nancy Toomey Fine Art (San Francisco, 2023); Kumoji (Cloud Path / A Road Traversed By Birds And The Moon), Kavi Gupta (Chicago, 2022); Aki Wa Yuugure (In Autumn, The Evening), Sundaram Tagore Gallery (New York, 2022); Mugetsu (Invisible Moon), MAKI Gallery (Tokyo, 2021); and Clouds, The Noguchi Museum (New York, 2018). Ando also actively participates in group exhibitions at prominent institutions like the Smithsonian American Art Museum (Washington, D.C., 2021); the Crystal Bridges Museum of American Art (Bentonville, AR, 2019); and the Los Angeles County Museum of Art [LACMA] (Los Angeles, 2017). In 2015, her large-scale installation, Emptiness The Sky (Shou Sugi Ban), was shown at Frontiers Reimagined, an official collateral event of the 56th Venice Biennale. Ando’s work is included in the collections of many renowned public institutions, such as LACMA, Detroit Institute of Arts, Scottsdale Museum of Contemporary Art, Santa Barbara Museum of Art, and Haus der Kunst, as well as various private collections. The artist has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant Award, and has produced numerous public commissions—most notably a thirty-foot-tall sculpture built from steel salvaged from the World Trade Center for Queen Elizabeth Olympic Park in London to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation.
Ando holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley. She continued her graduate research in East Asian Studies at Yale University and Stanford University, and later apprenticed with a Master Metalsmith in Japan.
Artworks
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Miya Ando, Kumo (Cloud) May 12 2021 12:30 PM - 12:45 PM NYC Triptych, 2021, ink on alumnium composite, 153.7 x 283.9 cm -
Miya Ando, January 1-28 2021 Kumo (Cloud) Grid NYC, 2021, ink on aluminum composite, 134.6 x 235.6 cm -
Miya Ando, Unkai (A Sea Of Clouds) May 26 2021 7:41 PM NYC, 2021, ink on aluminum composite, 65.4 x 126.4 cm -
Miya Ando, January 2 2021 Matsu Pine Shou Sugi Ban Silver, 2021, Reclaimed charred pine, silver nitrate, 27.9 x 27.9 x 27.9 cm -
Miya Ando, Jūsanya (13th Night Moon/ Waxing Gibbous) August 2 Day 139 Lockdown (Latitude 40.760131, Longitude -73.980127), 2020, Micronized silver and indigo on wood panel, 91.4 x 91.4 x 6.4 cm -
Miya Ando, Unkai Faint Purple Blue Grey 5.10, 2020, Ink on aluminum composite, 149.8 x 276.8 cm -
Miya Ando, Kumo (Cloud) Tondo 4.19.60.2, 2019, Ink on aluminum composite, 149.0 x 149.0 cm -
Miya Ando, Ryōanji, 2019, white stones, charred wood, silver nitrate, phosphorescent stones, 61.0 x 853.0 x 353.0 cm, Installation view from Form is Emptiness, Emptiness is Form, 2019 -
Miya Ando, 銀河 Ginga (The Silver River In Heaven), 2019, printed fabric, stainless steel, 305.0 x 147.0 x 6096.0 cm, Socrates Sculpture Park, New York, curated by Jess Wilcox, Photo: Nick Knight, courtesy of Socrates Sculpture Park -
Installation view from Clouds, 2018, The Noguchi Museum, New York, courtesy of The Noguchi Museum & Elizabeth Felicella -
Miya Ando, Alchemy Shou Sugi Ban September 3.3.1, 2018, Silver nitrate, reclaimed charred redwood, 91.4 x 91.4 x 3.8 cm -
Miya Ando, Ascernsion Leaves, 2015, dyed bodhi (Ficus religiosa) skeleton leaves, dye, quartz crystal, 457.2 x 274.3 cm, Montefiore Hospital, New York, courtesy of Tracy Szatan