Rajinder Singh
“Painting these pieces took an age, and as I worked, it began to rain in London,” says Rajinder Singh, the Malaysian-born artist who now divides his time between London and Dublin. As he contemplates his latest solo exhibition in Kuala Lumpur, Saffron Surrender, Rajinder delves into the solid personal and cultural connections that underpin his artistic practice.
Originally from Ipoh, Malaysia, the acclaimed artist draws deeply from his upbringing within the Sikh diaspora. “I was part of a small community with a strong bond to our ancestral homeland,” he notes.
Returning to his birthplace this year for a remarkable project, Saffron Surrender by Rajinder Singh unravels a layered tapestry of creative exploration. The exhibition revisits three poignant childhood memories, each intricately tied to Malaysia’s colonial history.
A Heavenly Machine in Saffron Surrender
His early exposure to narratives surrounding the Anglo-Sikh Wars, the Partition of India, and the role of Sikhs in British-controlled Malaysia profoundly influences his work. “These stories, imparted by my parents, the priests at the Gurdwara, and during language classes in Tanjung Rambutan, have shaped my consciousness,” he says.
Recently exhibited at Wei-Ling Gallery, Saffron Surrender was presented against a bold green wall, intentionally designed by the artist to mirror the British Museum’s Gold Plaque—an artefact primarily meant to be cast in bronze. This deliberate choice facilitates an immersive engagement with themes of identity, history, and the enduring impact of colonialism.
Why was it named Saffron Surrender? The exhibition’s title alludes to the 1849 surrender of the Sikh Empire to the British following the Second Anglo-Sikh War, which led to the integration of Sikhs into British military and police forces.
“We were conscripted by colonial powers to serve in World War I and II and to maintain colonial order,” Rajinder explains. “This exhibition highlights the physical and symbolic scars of colonialism on our bodies and our relationship with the former rulers.”
Ferozpore 1849
Featuring large-scale paintings that prominently incorporate folded canvas techniques, Saffron Surrender engages viewers from every angle, offering a rich, multi-dimensional experience. “You cannot separate culture, people, or a nation from religion. They are connected,” Rajinder asserts. Approaching the idea with abstract thinking, the large devotional panels, inspired by Baroque art, is a calling into the composition, much like how religious art draws worshippers into sacred spaces.
The vibrant orange hue of saffron is central to this body of work. “I employ saffron in my underpaintings as it represents purity, spirituality, and within Sikh culture, signifies valour, courage, and sacrifice,” Rajinder says. “Saffron embodies the essence of my artistic approach, akin to the stain of a prayer on a turban, growing more intense with each prayer.
Grounded in both introspection and external influences, Rajinder’s creative process reflects his desire to capture the ebb and flow of emotional depth in his work. “I move between pieces to keep the emotional energy alive,” he notes. “I want the fluid brushstrokes and imperfections to be part of the narrative,” embracing the unfinished as part of the artwork’s story.
“In the damp London air, an oil painting needs six weeks to dry,” he adds. His practice of working on multiple pieces simultaneously allows for cross-influence and depth, echoing the layered techniques of Flemish Baroque artist Peter Paul Rubens. “I love him. I always have. He’s a prolific painter and my biggest influence for this exhibition.”
Ambiguous Allegiance
A notable piece that stands out as his favourite, ‘Ambiguous Allegiance’, reimagines Jacques-Louis David’s Napoleon Crossing the Alps, substituting Napoleon with a Sikh man clad in gold. “There’s a tuning fork element to this piece,” Rajinder explains. “By replacing Napoleon, I wanted to challenge the narrative of the oppressor. Who is the real oppressor? Is it only the British, or does the legacy they left still resonate within us?”
“These stories, imparted by my parents, the priests at the Gurdwara, and during language classes in Tanjung Rambutan, have shaped my consciousness.” – Rajinder Singh
The scars of colonialism also feature in his poetry collection Pale in Saffron, which probes the metaphor of the “heavenly machine,” a concept employed by colonists to justify their dominance. “The British perceived themselves as morally superior, bringing civilisation to the colonies,” he says. “This ‘heavenly machine’ was their rationale for divine justification of their actions.”
Silent Resolve
Silent Resolve radiates an aura of understated reverence, as though it murmurs untold stories and emotions that extend beyond its frame. In this evocative piece, Maharaja Ranjit Singh, the first ruler of the Sikh Empire, is depicted in tranquil contemplation, his composed expression unaware of the betrayals that would soon lead to the fall of his empire. “It resonates with both personal and historical loss, something I feel on a deep level,” Rajinder reflects.
Another powerful symbol in the exhibition is the turban, explored in his sculpture series Elsewheres. “I see it as a spiritual connection, like an antenna for communicating with the divine,” Rajinder explains. “It represents both cultural weight and spiritual significance.”
Rajinder Singh
“It’s not about winning or losing,” Rajinder concludes when asked about his hopes for the viewers. “I want people to reflect on the forces shaping their lives today—the colonial attitudes that still linger, the social pressures that influence our existence. We need to confront these legacies to move forward.”
