July

Nyrmla’s Wedding II 1985/6 50.8 x 76.2cm (20 x 30in) Poster color, gouache and gold dust on mount board Artist: Amrit K.D. Kaur Singh

Like many of the artist’s other works ‘Nyrmla’s Wedding’ seeks to assert the artist’s identity as a British Asian. Focusing on the artists’ sister this lively scene depicts the popular tradition of painting auspicious patterns of ‘Mehndi’ on the hands of the bride, in preparation for her wedding day. However, the main importance of this work lies in its attempt to highlight both the value and vulnerability of ethnic cultures against the advancement of global westernization and economic progress.

Hence, the wedding festivities (emphasizing family values and community spirit) occur within the ‘security’ and ‘optimism’ of a colorful, decorative interior of the family home. This contrasts starkly with the view seen outside the window in the top, right corner of the composition. Here we see images of ecological exploitation, multinational domination and global destruction.

These are “the products of modern ‘progression’ and ‘advancement’ which, unfettered, present the biggest threat of annihilation to many world cultures whose so called archaic and backward traditions and philosophies of life, conversely, offer a sustainable social and global stability”.

At the same time certain objects inside the house, such as the Tape recorder, Batman car, Jasmine Doll and other symbols of Western popular culture, point to the dual cultural experience of the Diaspora Sikh community.

It is not therefore intended as an entirely anti Western image but one which advocates selective integration rather than wholesale assimilation, an expression of identity defined by the co-existence of cultures based on informed choice rather than the mind-less mimicking or unquestioning adoption of what has become the predominant influence of Western lifestyles and values.