Simryn Gill

Simryn Gill’s (b.1959, Singapore. Lives and works in Port Dickson and Sydney) methods include photography, drawing, sculpture, making collections; and writing and publishing. The materials and process she works with are often simple: used, or discarded everyday things, plants and texts, which might be pressed, printed, glued, scanned, torn, to make works that meditate on habitation—our place inside and outside places—in history, in geography and in language.
Simryn Gill’s work has been shown in numerous solo and group exhibitions, most recently at Gropius Bau, Berlin (2020); Drawing Room, London (2019); TarraWarra Museum, Victoria (2019); Met Breuer, Metropolitan Museum of Art, New York (2019); National Gallery Singapore (2018); Kohta, Helsinki (2018); Lunds Konsthall, Lund (2017); Museum of Fine Arts, Ghent (2016); NTU Centre for Contemporary Art, Singapore (2015); Museum of Modern Art, New York (2014). Gill represented Australia at the Venice Biennale in a solo presentation in 2013. She has showed in documenta 12 and 13 (2007, 2012), and in biennales that include Sydney Biennale (2018) and Moscow Biennale (2013).
Public collections that hold Gill’s work include: Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Centre Pompidou, Paris; The Getty Centre, Los Angeles; The Hammer Museum, Los Angeles; Kiasma Museum of Contemporary Art, Helsinki; Kiran Nadar Museum of Art, New Delhi; Los Angeles County Museum of Art, Los Angeles; M+ Museum, Hong Kong; Metropolitan Museum of Art, New York; Museum of Contemporary Art Australia, Sydney; Museum of Fine Arts, Ghent; Museum of Modern Art, New York; National Gallery of Australia, Canberra; National Gallery Singapore, Singapore; Petronas Collection, Kuala Lumpur; Queensland Art Gallery & Gallery of Modern Art, Brisbane; San Francisco Museum of Modern Art, San Francisco; Singapore Art Museum, Singapore; Solomon R Guggenheim Museum, New York; and Tate, London.


Jhaveri Contemporary presents a video and suite of drawings by British-Indian artist Hardeep Pandhal. Pandhal works predominantly with drawing and voice to transform feelings of disinheritance and disaffection into generative spaces that bolster interdependence and self-belief. Applying practices of associative thinking, delivered via rap and elliptical wordplay through the visual language of ‘gutter media’ such as comics and video games, his research-led projects exhibit syncretic strains of post-brown weirdness. Across media, his works are imbued with acerbity and playful complexity, at once confrontational and reflective.

About the Gallery

Jhaveri Contemporary was formed in 2010 by sisters Amrita and Priya with an eye towards representing artists, across generations and nationalities, whose work is informed by South Asian connections and traditions. The gallery’s dedication to original scholarship, engendered through its carefully crafted shows, is one of the many ways it distinguishes itself. Entwined with this philosophy is another guiding principle: showcasing the heterogeneous practices of long-celebrated luminaries as well as emerging talents, often in generously interrogative conversations. With a focus on mining lesser-known art histories, Jhaveri Contemporary facilitates dialogue between artists, curators and historians to add to the wider field of art. Estates served by the gallery include Mohan Samant, Mrinalini Mukherjee, Anwar Jalal Shemza.

Amrita and Priya have produced landmark projects such as Anish Kapoor’s first-ever public exhibition in India in 2010. The sisters are published authors and, in 2005, they collaborated on the seminal guidebook, 101: A Guide to 101 Modern and Contemporary Indian artists. Jhaveri Contemporary’s gallery space in Mumbai is on the third floor of a heritage building which overlooks the iconic Gateway of India from its balconies.