After a remarkable journey spanning three continents and nearly five decades of artistic dedication, 87-year-old Sardul Gill has achieved national recognition with his inclusion in a prestigious book documenting the history of British South Asian art, published by Tate Publishing.
"I don't plan my work completely. It comes together. Like life," reflects Gill, whose artistic philosophy mirrors his own life journey from India to Kenya, and finally to Nottingham, England, where he spent nearly 30 years as an art educator.
Gill's artistic style has evolved continuously throughout his decades-long career, characterized by his innovative use of "found" materials to create striking collages alongside prints and paintings that frequently explore religious and spiritual themes. His commitment to recycling and repurposing materials has become a defining characteristic of his work.
Born in India, Gill's life took a dramatic turn following his father's death, prompting his move to Kenya. There, while working at a garage, he achieved his first major artistic breakthrough in 1959 when his painting titled "Sita" won first prize at an exhibition. The significance of this moment wasn't lost on him when someone offered to purchase the work for a thousand shillings.
"Someone offered me a thousand shillings for it," Gill recalls. "But I couldn't sell it. It was the beginning of everything."
In 1963, Gill made the pivotal decision to move to the United Kingdom, eventually settling in Nottingham in 1972. His commitment to both creating and teaching art led him to pursue formal education, earning diplomas in art and education, followed by a Master of Arts degree in Fine Art. He then dedicated nearly three decades of his life to teaching as a lecturer at what was then known as South Nottingham College.
Gill's impact as an educator extends far beyond the classroom. "Whenever I am going through Nottingham, ex-students come up to me and say how I motivated them," he explains. "I showed them my own work in the college so that students could see what I was doing, not just what I was teaching."
His artistic evolution has been remarkable, beginning with traditional landscape and realism before transitioning toward abstraction, collage, and installation work. Throughout this journey, one constant has remained: his dedication to using recycled materials. Polystyrene, cardboard, and even discarded paint palettes find new life in his creations.
"Recycling is the right word," Gill emphasizes. "I use what I find. Nothing is wasted."
Gill's work frequently addresses themes of cultural remembrance and personal history. One particularly poignant example was a portrait he painted of Guru Nanak for his mother shortly before her death. "She wouldn't have gotten abstraction," he explains. "So I painted something she could really relate to."
Behind every successful artist often stands a supportive partner, and Gill's wife, Inderjit Gill, has played an instrumental role in his career. She describes her husband's creative process with deep understanding: "When he's painting, he doesn't think about anything else - even his tea. He's in a meditative state."
Mrs. Gill's contributions extend far beyond emotional support. She has handled communications, organized exhibitions, and managed the practical aspects of his career, allowing Gill to focus entirely on his artistic creation. Her enthusiasm for living surrounded by art is evident: "I like living in an art gallery," she says with a smile. "I say to him - let's put more work up."
Indeed, their home has become a testament to Gill's prolific output, with artwork filling every available space - a visual chronicle of his long and productive career.
During the 1980s, Gill emerged as a prominent figure in Nottingham's Asian Artists Group, helping to establish a community of artists who shared similar cultural backgrounds and artistic goals. His work has been exhibited extensively throughout the region, with shows at prestigious venues including Leicester Museum and the New Art Exchange.
The latest milestone in Gill's career comes with the inclusion of his piece "Earth Shrine" in Alina Khakoo's "A Brief History of British South Asian Art," published by Tate Publishing. The painting exemplifies Gill's distinctive approach, combining texture, natural forms, and metaphorical elements to create what art critics describe as a reflection of his compound, intuitive style.
"Earth Shrine" represents the culmination of decades of artistic development, showcasing the mature style that has evolved from Gill's unique life experiences and his commitment to finding beauty and meaning in discarded materials.
The recognition has brought Gill immense satisfaction. "I don't plan my work completely," he reiterates. "It comes together. Like life."
Gill's reaction to being featured in the book reveals both humility and pride. "All artists want to be acknowledged," he admits. "This is gratifying. Surprising. An honor."
At 87, Gill continues to create, surrounded by decades of work that tells the story not just of one artist's journey, but of the broader experience of South Asian artists who have contributed to Britain's rich cultural tapestry. His inclusion in this important historical documentation ensures that his artistic legacy and the story of his remarkable journey from a garage worker in Kenya to a celebrated British artist will be preserved for future generations.
The book's publication represents more than personal recognition for Gill; it acknowledges the significant but often overlooked contributions of British South Asian artists to the country's artistic heritage, with Gill's work serving as a prime example of how personal history, cultural identity, and artistic innovation can combine to create something truly unique and meaningful.
