Part visual artist, part storyteller, Indo-Canadian painter offers both delight and sorrow in retrospective show
In 2010, the Indo-Canadian artist Sarindar Dhaliwal painted a chart of colour samples from “bottle green” through “mandala claret” to “lavender’s blue” and called the work. That is the title for a retrospective of her work now showing at the
This is the most autobiographical and overtly narrative work in the retrospective – and, tellingly, it doesn’t reveal if the egg is crushed. But in a show of riotous colours and fantastical tales, Dhaliwal returns again and again to the land of her birth, to the legacy of colonialism there, and to themes of migration and cultural displacement in the West.
of 2009 is a set of leather-bound books in a rainbow of green, orange, yellow, purple, blue and red, with an embossed text that has to be read from left to right across their wide spines. It describes a little girl sitting in a public library delighting in all the colours of the books and the promise of their stories, establishing a lifelong love of exotic shades and fanciful narratives.
At the AGO, curator Renée van der Avoird juxtaposes this new work with a Dhaliwal classic from 1998. Inshe created a mural from 544 portrait photographs of women that appeared from 1989 to 1992 in The New York Times engagement announcements. The results are infamous – 14 million people were displaced by partition and an estimated one million were killed in the ensuing sectarian violence – but Dhaliwal’s approach suggests Radcliffe was an unlucky person handed a bad assignment rather than a villain.The Cartographer’s Mistake: Medicine Hat’s Reprieve
Perhaps Kipling’s trip is yet another example of colonial condescension but the many thematic layers are getting so laminated here, it’s hard to parse the storytelling piece without more examples of the Radcliffe bird’s travels.
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