Literally progressing from darkness to illumination, this body of work is best described by one of its paintings’ title: Awake Sleep. The diptych at once summons the subconscious, and describes the surreal but identifiable experience of being half-asleep, half-awake, a point where the subliminal and the real are indistinguishable. Recognizing the significance of such hyper-aware states to the self-discovery process, Singh’s paintings simulate a “nocturnal geometry” in which objects recede and emerge from obscurity in her broadly swathed canvases. The poetic interplay reaffirms universally-shared experiences as the hallmark of her work, and identifies memory and technological artifacts as the media by which world history and sense of context can be surmised.

The figurative consistency amongst the work on view reinforces Singh’s notion of the endurance and connectedness of thought and imagery. Employing large jars carrying seascapes through a mysterious, alluring void in a bird and two thousand echoes (2001) and then later in listening wind (2006) indicates Singh’s ongoing investigation of the archetypes she creates while the marked shift in the palette suggests a psychological / philosophical transpiration.