Running head: FINAL VISUAL ANALYSIS PROJECT 1

Final Visual Analysis Project

Student’s Name and Number:

Institution’s Name:

VISA 1206: Intro to Art History & Visual Culture

Professor’s Name:

Date:
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Introduction

The Art Gallery of Ontario (AGO) recently hosted the thought-provoking exhibition,

Sarinder Dhaliwal: When I Grow up I Want to be a Namer of Paint Colours. During my visit

on November 8th, I examined the intricacies of Dhaliwal's artistry, exploring the profound

narratives embedded in her works. This work analyzes the contextual factors, visually

dissects selected artworks, and delves into the communication and purpose behind Dhaliwal's

creations.

Contextual Factors

Dhaliwal's The Cartographer's Mistake: The Radcliffe Line, figure 1, confronts the

historical trauma of the partition of India in 1947. The use of marigold hues, symbolic of "the

rose of India," adds layers of cultural significance to the artwork (Dart, 2023). Dhaliwal's

approach reflects a critical engagement with colonial histories while maintaining a sense of

wonder and imagination. The canvas becomes a canvas of memory, capturing the historical

trauma inflicted upon the Indian subcontinent during the turbulent process of division.

Dhaliwal scrutinizes the consequences of this arbitrary division, questioning the impact on

communities, families, and individuals who found themselves on the "wrong" side of the line

(Ahmed, 2023). The cartographer's mistake is not only a geographical error but a

metaphorical exploration of the human cost of political decisions. Political undertones also

occur in Indian Billboard, where Dhaliwal critiques the dowry system through a recreated

feminist billboard (So, 2023). The juxtaposition of advertisements and symbols, along with

her clever use of reversed English and Hindi script adds a nuanced political commentary on

societal norms and expectations.

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Figure 1: The Cartographer's Mistake: The Radcliffe Line (AGO, 2023).

Figure 2: Indian Billboard (AGO, 2023)

Through Oscar and the Two Fridas, Dhaliwal weaves together the lives of Frida

Kahlo and Oscar Wilde, emphasizing the transformative power of art to address societal

prejudices (Queen’s University, 2020). The incorporation of pomegranates, tulips, and

Wilde's influence amplifies her message, highlighting her admiration for Wilde's ability to

turn ugliness into transcendence. Her collage-like composition stems from her artistic

necessity (Queen’s University, 2020). The departure from traditional perspectives in art

school reveals a unique approach to storytelling and symbolism.

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Figure 3: Oscar and the Two Fridas (AGO, 2023)

Founded in 1900, the now AGO was formerly Art Museum of Toronto. The renaming

to AGO signaled a highly expanded role (Withrow, 2015). The AGO is one of the biggest

North America museums with an estimated 1 million annual visitors. The gallery houses a

variety of collections of over 120, 000 works ranging from European masterpieces, Canadian,

indigenous artists, as well as innovative contemporary works (AGO, 2023). AGO launched,

in 2019, a new initiative aimed at increasing accessibility by implementing an under 25 years

old free admission and a yearly pass of only $35 (AGO, 2023). AGO’s rich history as a

cultural institution undoubtedly shapes the presentation of Dhaliwal's exhibition. The

curatorial choices and framing of the artwork contribute to the overall experience to provide

context and depth to the viewer.

Writing in CBC Arts, art journalist Chris Dart indicates that Dhaliwal’s work offers an

effective combination of the fanatical, political, and personal aspects as demonstrated in her

retrospective in the AGO. Her work provides a type of color explosion comprising saffron,

vivid greens, deep reds, and bright pinks featuring works from 1980s to 2010s (Dart, 2023).

Born in the Indian region of Punjab, she moved to Eastern Ontario after living in Britain. She

credits her immense bright hues love partly to her Indian heritage. Dhaliwal is quoted in CBC

Arts as saying, “Pink is the navy blue of India. It is part of the background, growing up with

women who wear very interesting colours for weddings and so on. So I think it's just seeped
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into my life in that way" (Dart, 2023). Dhaliwal's statements emphasize her commitment to

addressing difficult narratives with vibrant colors and floral motifs. Her intention to respond

to colonial histories with a critical yet imaginative approach becomes evident, as she seeks to

reintroduce beauty into the world through her art. Dhaliwal's exhibition is deeply connected

to broader discussions in the art world, particularly in themes of social justice, identity

politics, and cultural histories (Dart, 2023). Her exploration of complex narratives aligns with

contemporary dialogues surrounding these issues.

Visual Analysis

The Cartographer's Mistake series, particularly the image depicting the Radcliffe

Line, is a poignant exploration of the consequences of historical decisions. The use of

different hues of marigold, known as "the rose of India," to construct the map is a powerful

choice. The marigold, a flower with cultural significance adds vibrancy to the visual

composition and serves as a symbolic link to India (Taylor, 2023). The choice of a

chromogenic print enhances the saturation of colors, making the map visually captivating.

The scale of the map, along with the intricate details, draws the viewer in, prompting

contemplation on the impact of political decisions on human lives (Dart, 2023). The artist's

technical skill in utilizing color and form effectively communicates the emotional weight of

the partition and invites viewers to engage with the complexities of colonial history.

In Oscar and the Two Fridas, Dhaliwal employs a mixed-media collage technique that

becomes a distinctive hallmark of her practice. The composition, derived out of necessity due

to a lack of formal training in perspective, adds layers of complexity to the narrative. The

combination of graphite, watercolor, gouache, and collage creates a dynamic interplay of

textures and forms. Pomegranates, tulips, and iconic figures like Frida Kahlo contribute to a

rich visualization (Dart, 2023). The use of collage not only speaks to the artist's ingenuity but
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also enhances the thematic exploration of bringing together disparate elements from different

times and spaces. The viewer is invited to unravel the visual connections and consider the

intersection of two influential figures (Rolfe, 2023). The technique showcases Dhaliwal's

creativity and prompts viewers to reconsider conventional artistic approaches.

The Indian Billboard combines watercolor and oil pastel on paper to address societal

issues in a visually compelling manner. The vibrant colors, characteristic of Dhaliwal's style,

draw attention to the billboard's critical message regarding the dowry system in arranged

marriages. The juxtaposition of images, such as tigers and flowers, adds a layer of complexity

to the composition. The use of Hindi script, written backward, introduces an element of

disruption and challenges the viewer's expectations (Sarindar, 2022). The choice of materials,

watercolor, and oil pastel, contributes to the overall visual impact, creating a sense of

immediacy and engagement. The viewer is not only confronted with social commentary but is

also invited to explore the layered meanings embedded in the visual elements, enhancing the

overall experience of the artwork. The Banana Forest from 1984 showcases Dhaliwal's

mastery of the watercolor medium. The dreamlike quality of the painting is achieved through

the delicate application of watercolor on paper (Sarindar, 2022). The choice of a subdued

color palette creates a serene and introspective atmosphere.

Figure 4: The Banana Forest (AGO, 2023)

Communication and Purpose

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The Cartographer's Mistake serves as the genesis of Dhaliwal's series, reflecting her

exploration of the partition of India in 1947 (Dart, 2023). The artwork sheds light on the

repercussions of a decision made by an English barrister, Cyril Radcliffe, who had never set

foot in India before drawing its borders (Taylor, 2023). Dhaliwal employs different hues of

marigold, symbolically referred to as "the rose of India," to construct the map. The intentional

use of vibrant colors and floral motifs serves as a critical response to colonial histories,

allowing the artist to address difficult narratives with reverence for wonder and imagination

(Ahmed, 2023). The fissure created by the partition, resulting in the displacement and deaths

of millions, becomes a poignant symbol that continues to reverberate through time.

In Oscar and the Two Fridas, Dhaliwal bridges the gap between two figures she

deeply admires, Frida Kahlo and Oscar Wilde. The mixed-media composition, characterized

by graphite, watercolor, gouache, and collage, becomes a canvas for Dhaliwal's exploration

of what might unfold if these two iconic personalities were to meet (Queen’s University,

2020). The collage-like technique, a necessity born out of her untaught perspective skills in

art school, becomes a signature style that defines her practice. By incorporating familiar

imagery such as pomegranates, tulips, and Kahlo herself, Dhaliwal creates a visual language

that transcends time and space, paying homage to Wilde's ability to transform ugliness into

transcendence.

Indian Billboard, a work inspired by Dhaliwal's trip to Bangalore in 1996, reflects her

keen observation of a feminist billboard challenging the dowry system in arranged marriages

(Sarindar, 2022). The recreated billboard, rendered in watercolor and oil pastel, not only

reproduces the original text but also incorporates a myriad of images ranging from household

appliances to cigarettes (Withrow, 2015). The inclusion of Hindi script invites viewers to

question and reinterpret the messages embedded in the artwork. On the contrary, the Banana

Forest transports viewers to 1984, where watercolor on paper becomes a canvas for
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Dhaliwal's exploration of societal and environmental themes. Here, the banana, often seen as

a symbol of abundance, takes on a new significance as it transforms into a forest (AGO, n.d).

The piece speaks to the artist's ability to comment on contemporary social issues and

environmental concerns through her art.

Conclusion

Sarinder Dhaliwal’s: When I Grow up I Want to be a Namer of Paint Colours at the

AGO is a captivating exploration of cultural histories, political commentary, and the

transformative potential of art. Dhaliwal's ability to weave personal and collective narratives

into lush, vibrant works adds depth to the exhibition, leaving a lasting impact on viewers. The

intersection of contextual factors, visual analysis, and the artist's communication and purpose

elevates this exhibition to a thought-provoking and socially relevant artistic experience.

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References

AGO. (2023). About the AGO. Art Gallery of Ontario. https://ago.ca/about/about-the-ago

AGO. (n.d.). Sarindar Dhaliwal’s multicoloured memories come vividly to life at the AGO.

Art Gallery of Ontario. https://ago.ca/press-release/sarindar-dhaliwals-multicoloured-

memories-come-vividly-life-ago

Ahmed, K. (2023). The cartographer's mistake: The Radcliffe line.

Foyer. https://readfoyer.com/article/cartographers-mistake-radcliffe-line

Dart, C. (2023, August 8). Sarindar Dhaliwal combines the personal, the political, and the

fantastical in her AGO retrospective. CBC. https://www.cbc.ca/arts/sarindar-

dhaliwal-art-gallery-of-ontario-retrospective-1.6930532#:~:text

Queen's University. (2020, March 6). Oscar and the two Fridas. Agnes Etherington Art

Centre. https://agnes.queensu.ca/explore/collections/object/oscar-and-the-two-fridas/

Rolfe, M. (2023). In conversation with Sarindar Dhaliwal.

Foyer. https://readfoyer.com/article/conversation-sarindar-dhaliwal

Sarindar, D. (2022). Sarindar Dhaliwal on her Installation: Curtains For Babel. Journal of

Critical Studies, 2(1), 9-11.

So, W. (2023, August 16). The power of words with Sarindar Dhaliwal.

Foyer. https://readfoyer.com/article/power-words-sarindar-dhaliwal

Taylor, K. (2023, August 24). Sarindar Dhaliwal weaves words and colour together to tell

stories of migration, colonialism and growing up. The Globe and

Mail. https://www.theglobeandmail.com/arts/art-and-architecture/article-sarindar-

dhaliwal-art-gallery-ontario-show/

Withrow, W. (2015). Art gallery of Ontario. The Canadian

Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/art-gallery-of-

ontario