08/03/2026
Pierre Jeanneret arrived in Chandigarh in 1951 and stayed nearly fifteen years. Le
Corbusier drew the city. Jeanneret stayed to furnish it.
Burma teak, cut and joined by hand for a government office in a country four years into independence. They were meant to be identical. The craftsperson's hand refused. No two are the same, and the stencil is still on the door.
Above it, Les Femmes. Modigliani is in them. Gauguin is in them. So is every century that has looked at the female form and tried to hold it still. Signed, numbered, and finite, on German etching paper with a deckled edge.
In the foreground, the curve of a Rozette, made by hand in North Carolina this year.
Chandigarh. My studio. Carolina. Nothing here matches. Everything here is in key.