šxʷƛ̓ənəq Xwtl’e7énḵ Square
šxʷƛ̓ənəq Xwtl’e7énḵ Square
North of the Vancouver Art Gallery VAG
North of Vancouver Art Gallery
Jag focuses her art practice on South Asian concepts that depict a sense of confidence and fearlessness—she unapologetically celebrates darker skin tones and South Asian garments and motifs. Her work has been featured in the public realm throughout Metro Vancouver and she has recently collaborated with brands such as the Vancouver Canucks and Tim Hortons. She is currently serving as the Creative Director of Vancouver’s Punjabi Market Collective. Through art, she has found her voice and a new appreciation for her culture and identity.
Inspired by her Indian roots, Jag Nagra navigates the intersections of her identity by drawing from the iconography, mythology, and patterns she grew up with. Often placed at the entrances of homes, the Nazar Battu is a mask used in South Asia to ward off the evil eye by creating an intentional flaw or blemish to prevent perfection.
The Lantern City is proud to highlight the colourful diversity found right here in Vancouver. Through art, cultures and stories can be shared, and our understanding of our own identities can be expanded. Beyond cultural communities, religious communities, or even LGBTQ communities, we recognize the many ways in which we all belong in this city.
Three tigers tangled amongst each other, each distinct from the other, but also blending together into one shape. We share a lot more in common with each other than we think. Like the stripes of a tiger, may our similarities bring us together as individual parts of one, strong whole.
In the Year of the Tiger, we invite you to join us in appreciating the multitude of patterns, stripes, and colours that each of the tiger family possesses—just like we, as humans, have different cultures and backgrounds. Putting our uniqueness together, we are stronger!
Drawn at the beginning of the pandemic in 2020, the artwork depicts a bold, black and white patterned woman and a colourful tiger leaning into each other, holding hands. At that time, it expressed the artist’s longing to be able to hug those close to her again and regain some sense of normalcy. Almost two years into the pandemic, with all the challenges we’ve individually and collectively experiences, we’ve also seen how people have come together in acts of generosity and kindness. When Sandeep Johal looks at the image now, she sees resilience and hope.
"Every day's a good day when you paint!"
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. Full of rebellious elements of history, Hung Tung’s works reflect Taiwan's political, economic, and social development in that period of time. His paintings also became important symbols in culture to promote people to return to the countryside.
Hung Tung’s works often use red paper as the base material or background, giving a “new year” feel. The paintings are composed of original words created by Hung Tung himself, intertwined with colourful lines like intricate embroidery, and layered with warm colours and thick brushstrokes; they are filled with childlike wonder and fairy tale vitality. Much of his work is also influenced by temple culture. Composition methods and narrative structure such as the “flower and bird” painting style, mural paintings, gold paper patterns, etc. can be seen in the spatial arrangement of his creations.
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. Full of rebellious elements of history, Hung Tung’s works reflect Taiwan's political, economic, and social development in that period of time. His paintings also became important symbols in culture to promote people to return to the countryside.
Hung Tung’s works often use red paper as the base material or background, giving a “new year” feel. The paintings are composed of original words created by Hung Tung himself, intertwined with colourful lines like intricate embroidery, and layered with warm colours and thick brushstrokes; they are filled with childlike wonder and fairy tale vitality. Much of his work is also influenced by temple culture. Composition methods and narrative structure such as the “flower and bird” painting style, mural paintings, gold paper patterns, etc. can be seen in the spatial arrangement of his creations.
Jag focuses her art practice on South Asian concepts that depict a sense of confidence and fearlessness—she unapologetically celebrates darker skin tones and South Asian garments and motifs. Her work has been featured in the public realm throughout Metro Vancouver and she has recently collaborated with brands such as the Vancouver Canucks and Tim Hortons. She is currently serving as the Creative Director of Vancouver’s Punjabi Market Collective. Through art, she has found her voice and a new appreciation for her culture and identity.
Inspired by her Indian roots, Jag Nagra navigates the intersections of her identity by drawing from the iconography, mythology, and patterns she grew up with. Often placed at the entrances of homes, the Nazar Battu is a mask used in South Asia to ward off the evil eye by creating an intentional flaw or blemish to prevent perfection.
The Lantern City is proud to highlight the colourful diversity found right here in Vancouver. Through art, cultures and stories can be shared, and our understanding of our own identities can be expanded. Beyond cultural communities, religious communities, or even LGBTQ communities, we recognize the many ways in which we all belong in this city.
Three tigers tangled amongst each other, each distinct from the other, but also blending together into one shape. We share a lot more in common with each other than we think. Like the stripes of a tiger, may our similarities bring us together as individual parts of one, strong whole.
In the Year of the Tiger, we invite you to join us in appreciating the multitude of patterns, stripes, and colours that each of the tiger family possesses—just like we, as humans, have different cultures and backgrounds. Putting our uniqueness together, we are stronger!
Drawn at the beginning of the pandemic in 2020, the artwork depicts a bold, black and white patterned woman and a colourful tiger leaning into each other, holding hands. At that time, it expressed the artist’s longing to be able to hug those close to her again and regain some sense of normalcy. Almost two years into the pandemic, with all the challenges we’ve individually and collectively experiences, we’ve also seen how people have come together in acts of generosity and kindness. When Sandeep Johal looks at the image now, she sees resilience and hope.
"Every day's a good day when you paint!"
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. Full of rebellious elements of history, Hung Tung’s works reflect Taiwan's political, economic, and social development in that period of time. His paintings also became important symbols in culture to promote people to return to the countryside.
Hung Tung’s works often use red paper as the base material or background, giving a “new year” feel. The paintings are composed of original words created by Hung Tung himself, intertwined with colourful lines like intricate embroidery, and layered with warm colours and thick brushstrokes; they are filled with childlike wonder and fairy tale vitality. Much of his work is also influenced by temple culture. Composition methods and narrative structure such as the “flower and bird” painting style, mural paintings, gold paper patterns, etc. can be seen in the spatial arrangement of his creations.
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. Full of rebellious elements of history, Hung Tung’s works reflect Taiwan's political, economic, and social development in that period of time. His paintings also became important symbols in culture to promote people to return to the countryside.
Hung Tung’s works often use red paper as the base material or background, giving a “new year” feel. The paintings are composed of original words created by Hung Tung himself, intertwined with colourful lines like intricate embroidery, and layered with warm colours and thick brushstrokes; they are filled with childlike wonder and fairy tale vitality. Much of his work is also influenced by temple culture. Composition methods and narrative structure such as the “flower and bird” painting style, mural paintings, gold paper patterns, etc. can be seen in the spatial arrangement of his creations.
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