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šxʷƛ̓ənəq Xwtl’e7énḵ Square
North of the Vancouver Art Gallery
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Nazar Battu Jag Nagra Jag Nagra (She/Her) is a queer South Asian artist working and raising a family with her wife on the traditional and unceded territory of the Katzie First Nation. She is passionate about community development and ending the stigma against LGBTQ+ people within the South Asian community.
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.
Tiger Tower Paige Bowman Paige Bowman is a nonbinary settler raised on Lekwungen and W̱SÁNEĆ unceded territory ("Victoria") and currently based in the unceded territory of the Musqueam, Squamish and Tsleil-Waututh, or so-called “Vancouver”. Their work often centers around the concepts of identity and transformation as depicted through animal and occult figures.
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! One Day Sandeep Johal Sandeep Johal is a multidisciplinary visual artist whose practice engages drawing, collage, textiles, and large-scale mural painting. Through her distinct Indo-folk feminine aesthetic she confronts themes of bleakness, despair and ugliness with their dissonant opposites: brightness, hope and beauty. In particular, Johal sets out to continue a conversation about complex topics ranging from gender-based violence and femicide to identity and motherhood. Johal recently installed a mural in the lobby of the Vancouver Art Gallery for their inaugural #SpotlightVanArtRental project and has worked on notable projects such as Burrard Arts Foundation, Surrey Art Gallery, and Vancouver Mural Festival. She holds a Diploma in Fine Arts (honours) from Langara College and lives and works in Vancouver, BC.
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!"
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! Red Paper Series Hung Tung 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.
Legendary Taiwanese artist learned to paint at 50 years old. Without any formal art training, Hung Tung incorporates his own life experiences and imagination, with elements such as religion, glove puppetry, Taiwanese opera, temples, and poems, into the patchwork of his art. Zigzagging lines and lattice patterns found in old decorative art are often present in his works, along with rich colours and bold images. For Hung Tung, who never learned to read, paintings of words and images of characters he created himself became an iconic feature in his art.
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. 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. Red Paper Series Hung Tung 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.
Legendary Taiwanese artist learned to paint at 50 years old. Without any formal art training, Hung Tung incorporates his own life experiences and imagination, with elements such as religion, glove puppetry, Taiwanese opera, temples, and poems, into the patchwork of his art. Zigzagging lines and lattice patterns found in old decorative art are often present in his works, along with rich colours and bold images. For Hung Tung, who never learned to read, paintings of words and images of characters he created himself became an iconic feature in his art.
Hung Tung’s art is a significant catalyst in the development of Taiwanese art, prompting the shift to personal artistic expression in the 80s. 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.
Nazar Battu Jag Nagra Jag Nagra (She/Her) is a queer South Asian artist working and raising a family with her wife on the traditional and unceded territory of the Katzie First Nation. She is passionate about community development and ending the stigma against LGBTQ+ people within the South Asian community.
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.
Tiger Tower Paige Bowman Paige Bowman is a nonbinary settler raised on Lekwungen and W̱SÁNEĆ unceded territory ("Victoria") and currently based in the unceded territory of the Musqueam, Squamish and Tsleil-Waututh, or so-called “Vancouver”. Their work often centers around the concepts of identity and transformation as depicted through animal and occult figures.
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! One Day Sandeep Johal Sandeep Johal is a multidisciplinary visual artist whose practice engages drawing, collage, textiles, and large-scale mural painting. Through her distinct Indo-folk feminine aesthetic she confronts themes of bleakness, despair and ugliness with their dissonant opposites: brightness, hope and beauty. In particular, Johal sets out to continue a conversation about complex topics ranging from gender-based violence and femicide to identity and motherhood. Johal recently installed a mural in the lobby of the Vancouver Art Gallery for their inaugural #SpotlightVanArtRental project and has worked on notable projects such as Burrard Arts Foundation, Surrey Art Gallery, and Vancouver Mural Festival. She holds a Diploma in Fine Arts (honours) from Langara College and lives and works in Vancouver, BC.
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!" webRed Paper Series Hung Tung The first authentic Taiwanese artist, Hung Tung, learned to paint at fifty years old. He rose to prominence in 1972, holding a solo exhibition in 1976. Without any formal art training, Hung Tung uses people, flowers, birds, trees, ships, and airplanes as inspiration for his paintings. In addition to his own life experiences and imagination, elements such as religion, glove puppetry, Taiwanese opera, temples, and poems are also incorporated into the patchwork of his art. Zigzagging lines and lattice patterns found in old decorative art are often present in his works, along with rich colours and bold images. For Hung Tung, who never learned to read, paintings of words and images of characters he created himself became an iconic feature in his art.
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. webRed Paper Series Hung Tung The first authentic Taiwanese artist, Hung Tung, learned to paint at fifty years old. He rose to prominence in 1972, holding a solo exhibition in 1976. Without any formal art training, Hung Tung uses people, flowers, birds, trees, ships, and airplanes as inspiration for his paintings. In addition to his own life experiences and imagination, elements such as religion, glove puppetry, Taiwanese opera, temples, and poems are also incorporated into the patchwork of his art. Zigzagging lines and lattice patterns found in old decorative art are often present in his works, along with rich colours and bold images. For Hung Tung, who never learned to read, paintings of words and images of characters he created himself became an iconic feature in his art.
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.