Sunny Leerasanthanah

PROJECTS:
This is as far as I can take you
Contain Yourself
Naturalization
Offerings
Sticky Note Sketches
Wuthichai (Exit Interview)
Mom’s Magnets
Homes Against Tides
Towards Tenderness
Carry Me Home
Handwriting Superstition Workshop
We Are Here Book Commission
Chinatown Futures
  
PHOTO PORTRAITS
PHOTOGRAPHY
PHOTO JOURNAL
VIDEO & FILM
WRITING

ABOUT / CONTACT
PRESS
CV

︎ News ︎

︎︎︎2025 | Solo exhibition at Anne Reid ‘72 Gallery 

︎︎︎2024-2025 | Studio Residency at Artists
Alliance Inc. LES Studio Program ︎

︎︎︎✺ 2024 | Feature & Interview with Claire Kim for The Here and There Co. ︎

︎︎︎✺ 2024 | Feature & Interview with TAGTAGTAG Magazine ︎

︎︎︎2024 | “This is as far as I can take you” solo show at Smack Mellon (NY) Feb 10 - April 14, 2024

︎︎︎2023 | “Naturalization” solo exhibition at John Michael Kohler Arts Center (WI) July 2023-Jan 2024

︎︎︎2023 | Lesbian Narratives of Cherry Grove: Presentation & Panel Discussion, April 23, 2023 at Candice Madey Gallery 6:30pm (Free) 

︎︎︎2023 | Residency at Image Text Workshop ︎

︎︎︎2023 | Residency at Center for Book Arts 

︎︎︎2022 Nov | Guest panelist for “Let’s Talk About Photo Books” discussion at Soho Photo Gallery. Nov 12, 4:30-6pm ︎

︎︎︎2022 July | Residency at Fire Island Artist Residency

©2024 SUNNY LEERASANTHANAH

Mom’s Magnets



Mom’s Magnets

2020
Self-published risograph book
5.85 x 8.25 in
Printed by Witti Studio, Bangkok, Thailand
Featured at Bangkok Art Book Fair 2020

Edition of 100

︎︎~ LAST FEW COPIES AVAILABLE FOR PURCHASE !~
email sunnyleeras@gmail.com




Photo courtesy Miriam Gallery

PURCHASE IN USA
︎︎︎ Printed Matter online + Chelsea location ︎
︎︎︎ Miriam Gallery online + gallery ︎
︎︎︎ Citizen Editions online ︎


PURCHASE IN THAILAND
︎︎︎ Happening Shop online + Bangkok Arts and Culture Center location + Dadfa La Salle location ︎







Description: Mom’s Magnets is Leerasanthanah’s typological documentation of her mother’s collection of magnets from worldly destinations. The souvenir magnet is exemplary of reducing culture, place, people, heritage, and politics to commodified kitsch. Patterns reveal the homogenous representations of marketable icons. Playful juxtapositions force a relationship between two seemingly unrelated symbols, like the Egyptian hieroglyph tablet and Britain’s telephone booth. Ultimately, the book contemplates the attempt to embody and possess place and time—a subject that resonates with Leerasanthanah’s past work.