Art

Brave New World in Art

by HENNA SINGH

The 2007 Vaisakhi Gala (hosted by Canada's Centennial Foundation) will feature the works of an artist who began painting Sikh subjects relatively recently. 

Kanwar Singh Dhillon may not be someone you have heard of yet, but his passion for capturing heroes and events from Sikh history on canvas will, I fully expect, soon make him a household name. 

Many artists, for one reason or another, often push their artistic abilities to the side and choose to focus on the more practical needs  and obligations of living. Their "day jobs" give them their livelihood while their basement studios hold products of their true passion, hidden away from those who might label them as mere frolics or frivolous pursuits. 

Kanwar Singh, however, was always drawing, painting or expressing himself through scribbles from a young age.  When asked how long he had been painting, he was unable to provide an exact time-frame. Rather, it just showed that Dhillon could not remember a time when he wasn't immersed in art.

While growing up, Dhillon channeled his artistic abilities into producing comic books. He then decided to go to York University in Toronto and completed a Bachelor's in Fine Arts. 

After graduation, he enrolled in the world-renowned Classical Animation program at the local Sheridan College.  Though the program gives its students solid capabilities to be employed in the world of animation, after working on a few projects and even a full-length animated film, Dhillon felt that though this career path was certainly that of  an "artist", it nevertheless seemed too much like being a part of an assembly line. 

What he wanted was to be in charge of his own projects and be allowed to explore his creativity rather than just be limited to applying his technical skills.  So, for a few years, he worked as a freelance artist.

His second interest being History, Kanwar often found himself wading through books on the past during his free time. It didn't take him long to discover the fascinating stories from Sikh history and find them deeply inspiring.  He came across a great range of events and a full gamut of change occurring within short periods of time. He realized he had, right at ‘home',  "enough material to paint for two lifetimes".

But he also became aware that he had to teach himself how to paint in a fashion that was more suited to his subject matter; that is, a style quite different from the animation paintings he had become accustomed to doing. 

Inspired by Sobha Singh, and using the techniques from some of the Renaissance and Baroque masters as well, Kanwar developed the skills that he needed to draw the scenes that were by now etched in his mind through his readings in Sikh history. 

He soon came to the conclusion, however, that the scenes he imagined in his mind's eye required a large canvas  -  each one  could easily take up a whole wall in his studio. 

Working on something so large, though, has its pitfalls.  If the artist makes a mistake, it is virtually impossible to change it on the canvas.  You either start from scratch or continue working with what you have, knowing that it is not what you wanted.  Not only is painting something large a great investment in time, but it also involves taking a very big risk: if you do not like the final result, there is not much you can do about it. 

There was another way, however.  Kanwar realized that he could "paint" using his computer. 

Being self-trained and used to working only on actual canvas, Kanwar was wary of using computers to create art.  However, upon doing a bit of research, he found out that in fact computers were used by many artists who worked on the large scale  - set designers for movies or plays, for example.  Kanwar knew that if they could use it to advantage, then it would be valuable to him as well. 

Years later, Kanwar now knows how to use the computer programs well. He works with a tablet and pen that operates much like a paintbrush, though he concedes that the pen does not function exactly like a brush.

His painting process begins with him making a design on normal paper and then scanning it on to his computer.  He sketches the larger parts of his pictures and fills in smaller details by hand on the tablet.  He has developed his skill so that he can draw quite well using the virtual pen. 

Having the picture on the computer, he now goes ahead and loosely fills in colour to parts of his painting.  The technology allows him to use precise hues that he can save and return to when he needs them.  Using the computer, he can also zoom in to specific portions of the painting and fill in the particulars  -   the exact features on a person's face, for example, or the detailing on Guru Gobind Singh's shield. 

These minutiae are important because if the design gets printed on the scale that Kanwar prefers, all the fine points will be visible and add a great deal of depth to the painting.  The whole process takes about three months and is ultimately, upon completion, printed on actual canvas. 

Though the whole exercise would take longer if executed by hand, Kanwar's paintings are real accomplishments because he tries to make them as historically accurate as possible.  He wants the viewer to feel as if he or she "was actually there" and a witness to what is happening in the historical scene.  Because of his own interest in history, Kanwar says "it would just bother me" if the details were not as accurate. 

This means that he takes the time to find authentic descriptions from the time period that he is portraying.  He attempts to find realistic horse harnesses, or swords, or clothing so that he can depict precise representations relating to the specific eras. 

Thus, using the computer allows him to experiment with different models and save the one that works best. 

For one of the paintings being showcased at the Vaisakhi Gala, for example, Kanwar went through several prototypes of turbans for the image of Guru Gobind Singh, until he finally settled on a version.

To be sure, some will think of Kanwar's digital method of painting as being untraditional. But once one understands the process and the high level of skill involved, it isn't difficult to accept the fact that his work is no less a piece of art than something from an artist who works with traditional tools.

If anything, it has the potential of being even more creative. The results enable the artist to yield a quality piece of art in lesser time. 

And no matter which route you take, the process of putting together a work of art remains  truly amazing, especially knowing the amount of  time and research that goes into it.

It makes Kanwar Singh's pieces true collectibles which will give pleasure to the coming generations for a long, long time.

Photos: On this page  -  a progression of the stages Kanwar goes through in creating a painting ("Akali Phoola Singh").  Main Page image and Thumbnail  -  The artist at work, on the computer.

[For more info on Kanwar Singh Dhillon's art, visit  http://www.artofpunjab.com/

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