We met with visual artist and educator Sandeep Johal at her home studio in Mount Pleasant. Although always creative while growing up, Sandeep began to pursue her artwork more seriously during the past 18 months. Throughout her university studies, first in science and then education, Sandeep had several experiences where her professors and her fellow students encouraged her to move into the arts, but it was only after she turned 30 that she decided to return to school to study Fine Arts and realized that it was what she wanted to be doing. Her work currently includes drawing, painting and printmaking, and is heavily influenced by her South Asian cultural background. Sandeep is passionate about issues such as violence against women and social injustice and her artwork is a platform for her to raise these issues in the hopes of inspiring dialogue and change.
You can see more of Sandeep's work on her website here and follow her on Instagram and Facebook.
Our Q&A with Sandeep:
I don't remember the first time but one of my friends who I was in kindergarten with told me somewhat recently that she remembers the teacher asking us to take our pencils for a “walk in the air,” and she looked over and saw me drawing a spider. I remember always drawing cartoons and loving line work growing up, which has come around full circle now!
What are you working on right now?
I'm working on a few different projects. I'm close to finishing my series of 50 black and white mandalas and I'm also finishing up a painting for the RBC Canadian Painting competition which is inspired by Indian folk art, and folk art in general. I then want to start a series of paintings of Indian women vigilantes and rebels, who fought or are fighting for women’s rights and justice. The series will have the Queen of Jhansi, Rani Lakshmibai, who led an army during India's First War of Independence; the Bandit Queen of India, Phoolan Devi; and Sampat Pal Devi, founder of the Gulabi Gang, placed together in unusual situations that would be so inconceivable for the three of them to be doing together, like going for a bike ride or eating ice cream cones. These women really blow my mind and I still can't wrap my mind around them! I am also going to make a series of 8-10 black and white drawings based on different parts of the Bandit Queen’s life, like being low-caste, then a child bride, then a bandit, and then finally part of Parliament. They will have really elaborate and colourful frames drawn around them, again tying into folk art.
What do you like the most about working as a visual/public artist? And what are some of the challenges of working in the visual arts?
The contentment. I've been the happiest I've been in my life since I started making art more seriously last January, and I feel like I'm finally stepping into what I'm supposed to be doing. To be cliché, making art really feeds my soul and I feel like I'm contributing something. With the mandalas, for example, I feel like I'm giving people a small piece of calm; they can look at them and let things like stress and anger fall away. With the Bandit Queen series, I like the idea of doing work that is a bit provocative and that brings issues like violence against women and social justice to the forefront to inspire dialogue so that things can start to change.
One challenge is just getting myself out there. I want to be actively part of the art community, but sometimes the fear of rejection is so huge. Usually people are kind and encouraging though, so I've been applying for as many things as possible so that I can meet more people. The more I say yes and do things in the community, the more it becomes easier and easier.
What moves you as an artist?
It is hard to separate myself from my culture – Indian culture is very strong. At the same time, it can be very unequal. Growing up I had to watch my brother be able to do things that my sister and I weren't allowed to do. I would constantly question my parents about why this was and they would say; “because he is a boy.” It just wasn't good enough for me though and I'm sure I drove my mother crazy with all my questions! So, that inequality, and the treatment of women, has definitely played a role in my work. It is a way for me to try and understand why terrible things, like honour killings for example, happen and try to bring them to the forefront.
Do you think about the relationship between artist and viewer when creating?
My social and political work is mostly for myself, as a way for processing hard things that happen, but I do try and make my work apolitical in a way because I don’t want to force my opinion on anyone. I want to create something beautiful out of something ugly that has happened, and present the facts and information so that people can look closer at it and start thinking about these issues. I feel like I have the right to address things in my own culture because I am a part of it, and understand it, but I do want to be careful about how I present my work.
What are your thoughts on exhibiting art in non-traditional platforms, outside the formal spaces of art museums and galleries?
I love street art and I'm a huge proponent for sharing art in public. It makes it possible for people to come into contact with art on a daily basis, and I think that is important because it really does something uplifting for people's moods when they see art out and about in their communities.
In your view, what are some ways that artists can impact their communities?
I think through leading by example. A few years ago, I took a workshop with Jesse Reno, an artist from Portland, and one thing that I really learned from him is that if you just make your art, the rest will follow. I think that if you are authentically making your art, it will inspire others around you to also have the courage to pursue their art. I think it is important to promote and encourage other artists and give thanks and credit where it is due.
How do you participate as an artist in your community?
Last summer I created a mandala labyrinth at the Maritime Festival in Steveston that people could enter to make a wish for rivers and lakes. I also taught a mandala workshop at a Family and Education Services event in Maple Ridge. Both events were really good – I got to work with awesome people and learned a lot about working in a community and the challenges of getting people involved. It takes a lot of energy and you have to be flexible! I was also recently contacted by an organizer for the Arts Plaza at Euro Fest 2014, who asked me to draw a chalk mandala on tar paper. She found out about me through Bean Around the World on Main street, where I had some of my work exhibited. I drew a chalk mandala on the sidewalk outside, which was really fun and also interesting because people would hover around and be hesitant to participate. It has inspired me to start mandala bombing Vancouver this summer, and have people join in and add to the piece!
At Papergirl, we are all about the art of giving art. What is the greatest gift you have ever received?
Love. I have such a loving and supportive family. My husband is amazing and I have the best friends in the world who really raise the bar on what friendship is. They are constantly sending me things they find that remind them of me, like grant and exhibit opportunities, and I feel so blessed to have all these people thinking of me and wanting to help me succeed.
Tell us about the piece you have donated to Papergirl Vancouver.
I drew 2 pieces – they are Indian and mandala patterned frames around uplifting quotes I really like. I hope that if someone receives them it will make them feel good!
To wrap up the interview, if you could be a bike what kind of bike would you be?
To be honest, I would be my ratty old second-hand bike. It's unpretentious and gets the job done!
interview & photos by Julie Nicole Photos