The work of Ang Tsherin Sherpa is resolutely individual. From a young age, Sherpa studied traditional Tibetan Thangka painting and, at the start of his career, worked as a professional Thangka painter. His more recent contemporary work has melded his traditional instruction with contemporary themes and imagery, inviting his audience to consider the relationship and effect of tradition to the contemporary and of the contemporary to tradition. Sherpa’s works have been exhibited at numerous museums and galleries and are part of the permanent collections of museums such as the Asian Art Museum of San Francisco and the Rubin Museum of Art. Sherpa’s painting Untitled (2017) is part of Art Works for Change’ The True Stories Project: Exploitation and Empowerment exhibition, which was shown at the Patan Museum in Kathmandu, Nepal from July 13 through 31, 2017.

AWFC:  You studied traditional Tibetan painting with your father, and most of your recent work blends the techniques of traditional Thangka painting with contemporary themes and images. What would you say inspired your transition from traditional Thangka painting to Thangka painting with contemporary themes?

Ang Tsherin Sherpa:  Firstly, I do not consider my works as Thangka painting with contemporary theme. The very term Thangka has a connotation of works depicting the teachings of the Buddha or visions of Buddhist masters so it probably gets boxed into more religious theme. As far as the technique is concerned, I have adopted various different techniques including thangka painting. For me, the technique and certain symbols I borrow from traditional Tibetan tradition are the residues of my training background. At times, it also serves to establish an identity to initiate a conversation in the vast world of contemporary art.
The inspiration to move on from painting religious icons to contemporary work was a gradual one. When I left Nepal in 1998, I had limited knowledge of the art movements outside the traditional Himalayan/Tibetan art. By visiting galleries, museums, meeting other artists from different parts of the world and studying Art History, gave me inspiration to express my thoughts and imagination in a contemporary context.

AWFC:  How do you use your art to respond to contemporary social and political issues?

Ang Tsherin Sherpa:  When I was creating traditional Buddhist art, I had very little interest in what was happening in the world. I was too immersed in Buddhist iconography and symbology. Later when I started making the contemporary works, I became much more interested and curious about things that were happening around us in our day to day life. And how certain events and political decisions impacts an individual, society etc. etc. It became more of a concern for me and I would make works to address certain things that may be of concern to me. By creating a work to talk about an issue at a particular time also becomes a process of documentation which incapsulates the specific time and event, that which becomes a visual recorded diary from the eyes of an artist.

AWFC:  Your work, Untitled (2017), part of the True Stories Project, addresses the sexual exploitation and trafficking of boys, girls, and women. How does your art address the issues of exploitation and trafficking, and what sort of response do you hope to inspire with your art?

Ang Tsherin Sherpa:  With the work and the project, I hope that we can initiate a conversation and raise awareness on the issue of sexual exploitation and trafficking of teenagers and adults. When the work travels for an exhibition, it informs the viewer of the situation and issues. In a way, it can also empower the victims of such exploitation. They can feel that they are not ignored or neglected. And personally for me, the work becomes a visual reminder for me to actually do something about it.

AWFC:  The True Stories Project seeks to empower victims of sex trafficking through art and storytelling, focusing on two locations in particular: Oakland, California and Kathmandu, Nepal. How have your experiences living in both Oakland and Kathmandu shaped the way you respond to exploitation and the way you address it in your art?

Ang Tsherin Sherpa:  While in Oakland, I have come to learn about this issue through news and media, whereas in Nepal, I have met several individuals who have gone through these experiences in Nepal. In a way, it’s an irony because generally people in Nepal tend to put the West in a very high esteem. Many people think that such issues only exist in developing countries. Having been in both these places becomes a reminder for me that how vulnerable even West is when it comes to issues like sexual exploitation and human trafficking.

AWFC:  What changes do you hope to see implemented in the near future regarding the issue of sex trafficking in Nepal and in the United States?

Ang Tsherin Sherpa:  I hope through education and dialogue people are more aware and active to eliminate or prevent sex trafficking and exploitation. Also hope that the government and other organisations play a strong role in providing support for the victims.

AWFC:  I understand you are looking to set up a Thangka painting school in Kathmandu with your father. What do you hope to achieve through the establishment of this school?

Ang Tsherin Sherpa:  Yes, we are trying to see if we can establish a school where the traditional art is taught again. But it may be that we will start by providing scholarship to several art students first. I’ll know more about it in the next few months.

Find more of Ang Tsherin Sherpa’s work at http://www.tsherinsherpa.com/