Interview: Avleen Kaur, Visual Artist
Avleen Kaur is an Indian painter based in Toronto, Ontario. Her visual poetry is inspired by the trials and tribulations of the human race, some of which she has experienced herself. Kaur’s art makes many references to her homeland to acknowledge the absurd and detrimental exploitation of power in society, both on a personal and structural level. In a similar way, she is just as passionate in translating love, comfort, faith and relationships into her pieces.
Integrating her heritage into the accessories and clothing she creates, Kaur recently launched her own brand of handcrafted intricate leatherwear called GAHM. The line is named after her mother’s village of Budgam in Kashmir and its high-standard quality is meant to last a lifetime. She will be launching a website soon, but until then, you can find more of her work on her Instagram page under @gahm__.
Can you tell us a bit about your work? Why do you create?
My paintings are simply a regurgitation of the experiences of both myself and the experiences of people around me. It is not an act of healing, but rather an act of explanation. I would even consider it a physical act of visualization - the squirming, the pain, the trauma, the experiences. The weight that I, and those with similar ethnicities and backgrounds like mine, find a way out through my work. The months that I spend making a painting allow me to confront the thoughts and emotions of what I’m painting about over and over again. Creating that work allows me to replay and realize what went wrong, why do we behave the way we do, or what actions I’ve taken in the past. There is no end-goal to my work— It will only continue to evolve. Primarily, I want to exist in a relevant space that allows me to create more space for women in India and do what it takes to help them have agency over their lives since we are often robbed of it.
You didn’t originally start in the art industry but was a working engineer prior, do you mind sharing this background?
I moved from India to pursue an undergrad in engineering. After graduation, I worked for about three years in the oil and gas industry in Alberta. The stagnance of a 9 to 5; the lack of culture along with the unfamiliarity - I had to find ways to pacify myself. That’s when I started sketching and drawing, and eventually dove into the medium of paint. As time passed, going to my job made me less happy and I soon preferred spending more time at the little art studio that I had. I remember one time I was coming home from a trip and almost cried on the plane thinking about having to go back to work. That was the distinct moment I knew I had to quit my job and at least try committing to painting for a couple of years. I thought of the possibility of pursuing art would work out, and from then on I considered my finances. I decided to keep working until I had saved enough money to move to Toronto, and here I am.
How would you personally describe your art style? Have you always had this style?
The theme of my work is record keeping— of my personal and communal history as a Kashmiri Sikh, my life in India, and the garbage that colonization leaves behind and its consequences.
I have a bottomless well of inspiration to tap into. The colours in India, our body adornments, and our history have all given me so much to explore, not only in my artwork but in myself as a person. I would describe my current style as non-figurative portraiture. This is a relay of information and emotion solely through the use of my colour palette and the movement of my paint brush. As I said, art is ever-evolving, and so is my style.
For my upcoming solo show at Crybaby Gallery on March 18, I found inspiration in a number of North American and South Asian artists who don’t necessarily paint in my style but have strong visual control over their canvas. My favourite artists include Kerry James Marshall, Tyeb Mehta, Amrita Sher-Gil and Tesfaye Urgessa. I am also inspired a lot by music. My playlists consist of R&B (alternative R&B), afrobeats, grime, drill, hip hop and old school Punjabi music.
What creative process excites you most? And what other processes do you look forward to experimenting?
I am currently in the works of starting a line of homemade leather accessories, measured and intricately put together in my studio. My aim is to replicate the tradition of inheriting well-made clothing and accessories from my parents and grandparents in The West, and to make people feel a sense of regality when they wear my art.
Fun fact: I journal every day. I love to write during my spare time. It's the first thing I do when I wake up.
How do you know when a piece is done?
This is a hard one! I don't specifically know when that happens. I suppose a piece is considered ‘done’ when I’m at the emotional point where I love it most, and I know that one more brush stroke would make me hate it.
Bonus Question: What are you up to next?
I am super stoked to be painting a whole new series after my solo show at Crybaby Gallery on March 18. I am also working on a number of creative looks with my leatherwear line GAHM, and just be while also trying to stay sane during the lockdown.
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You can find more of Avleen on her website, and you can follow her on Instagram. Her email is avleenk@protonmail.com.
Photo Credits: Avleen Kaur and Cody Rooney.
