When it comes to Chila Kumari Singh Burman’s creative repertoire, colour reigns supreme. From giant ice cream cones to illuminated iconography, her collections have brightened several well-known locations (including the Tate Britain and Covent Garden’s historic market stall), exploring themes of identity and empowerment with characteristic vibrancy.
It’s no secret that, here at Anthro, we’ve got a soft spot for technicoloured treasures! This Christmas, Chila’s three-piece neon installation will be lighting up our Bath store windows, giving us the chance to delve deeper into her kaleidoscopic world. In honour of the occasion, we sat down with the self-described ‘Punjabi Liverpudlian’ to talk everything from nostalgia to new projects, and how her artwork is bringing some much-needed joy to our pavements this year.
Meet the Artist:
Chila Kumari
Singh Burman
We caught up with the renowned artist (and electric mind behind
our Bath light display) to find out what sets her heart aglow.
Can you tell us a bit about how you became an artist?
I studied at Leeds Polytechnic, before going on to the Slade School of Art. I am where I am now after years of hard work: continually pushing through boundaries, creating my own opportunities – and never taking no for an answer!
What first drew you to the medium of light/neon sculpture?
I’ve always loved neon. It’s reminiscent of my childhood – I grew up in Liverpool, and as a family we’d often visit the Blackpool Illuminations. That said, when I first started working with the medium, I found I just couldn’t achieve the shapes I wanted using traditional glass lights. Then silicon neon lights were developed, and suddenly a world of possibilities opened up; I was finally able to bring my sculptures to life.
I studied at Leeds Polytechnic, before going on to the Slade School of Art. I am where I am now after years of hard work: continually pushing through boundaries, creating my own opportunities – and never taking no for an answer!
What first drew you to the medium of light/neon sculpture?
I’ve always loved neon. It’s reminiscent of my childhood – I grew up in Liverpool, and as a family we’d often visit the Blackpool Illuminations. That said, when I first started working with the medium, I found I just couldn’t achieve the shapes I wanted using traditional glass lights. Then silicon neon lights were developed, and suddenly a world of possibilities opened up; I was finally able to bring my sculptures to life.
Your installation is so vibrant – 'Joy', 'Peacock' and 'Bindi' are real statement pieces! What was the inspiration behind each of them?
Each piece holds real meaning. They’ve all been specifically chosen for the Bath installation, in the hope that they’ll uplift the public at a time when we all really need it.
‘Peacock’ is symbolic of re-growth, rejuvenation, beauty, and love – plus, as a bird native to the Indian subcontinent, it’s a reference to my heritage. My ‘Joy’ neon sculpture quite literally speaks for itself! We all need joy in our lives, and – perhaps more importantly – we could all do with reminders to seek out that joy. Lastly, ‘Bindi’ echoes its cultural purpose: warding off bad luck and securing a hopeful and prosperous future. Again, this piece refers back to my heritage. Exploring themes of memory and cultural identity is, and always has been, integral to my art.
Could you tell us more about why the theme of identity is so important to you?
Growing up in Liverpool in a Punjabi Hindu household equipped me with a unique view of the world. My culture and gender intersect; they’ve shaped my life experience. I’m devoted to unpicking these themes further as part of my creative process. I’m also driven by the hope for a reality of better-informed conversations, one with clear strategies for tackling racism and sexism (both in the art world and beyond).
Each piece holds real meaning. They’ve all been specifically chosen for the Bath installation, in the hope that they’ll uplift the public at a time when we all really need it.
‘Peacock’ is symbolic of re-growth, rejuvenation, beauty, and love – plus, as a bird native to the Indian subcontinent, it’s a reference to my heritage. My ‘Joy’ neon sculpture quite literally speaks for itself! We all need joy in our lives, and – perhaps more importantly – we could all do with reminders to seek out that joy. Lastly, ‘Bindi’ echoes its cultural purpose: warding off bad luck and securing a hopeful and prosperous future. Again, this piece refers back to my heritage. Exploring themes of memory and cultural identity is, and always has been, integral to my art.
Could you tell us more about why the theme of identity is so important to you?
Growing up in Liverpool in a Punjabi Hindu household equipped me with a unique view of the world. My culture and gender intersect; they’ve shaped my life experience. I’m devoted to unpicking these themes further as part of my creative process. I’m also driven by the hope for a reality of better-informed conversations, one with clear strategies for tackling racism and sexism (both in the art world and beyond).
If the past year has taught us anything, it’s that occasions like Christmas are worth cherishing. Growing up, did you look forward to any particular celebrations or times of year? What were they?
For me, it’s got to be Diwali, a five-day Indian festival which celebrates the triumph of light over darkness. It’s all about hope, unity, and the light at the end of the tunnel. I was so delighted that my Tate Britain commission, remembering a brave new world, was unveiled to coincide with Diwali last year. It was my opportunity, as an artist, to put this religious festival on the Western art world’s radar, and an even bigger opportunity for me to showcase my take on traditional and popular Indian culture.
What elements of your upbringing inspire your work today?
So many elements of my childhood feed into my work! My parents are, of course, a huge source of inspiration. Their enterprising spirit – they came to this country without a penny – is where I’ve got my work ethic from. Then there’s my father’s ice cream van (with its iconic Bengal tiger figurine attached to the roof), which, as an image, has stuck with me throughout the years. Many of the themes I’ve explored throughout my practice – from ice cream imagery to depictions of said tiger – relate to my memories of the family business.
For me, it’s got to be Diwali, a five-day Indian festival which celebrates the triumph of light over darkness. It’s all about hope, unity, and the light at the end of the tunnel. I was so delighted that my Tate Britain commission, remembering a brave new world, was unveiled to coincide with Diwali last year. It was my opportunity, as an artist, to put this religious festival on the Western art world’s radar, and an even bigger opportunity for me to showcase my take on traditional and popular Indian culture.
What elements of your upbringing inspire your work today?
So many elements of my childhood feed into my work! My parents are, of course, a huge source of inspiration. Their enterprising spirit – they came to this country without a penny – is where I’ve got my work ethic from. Then there’s my father’s ice cream van (with its iconic Bengal tiger figurine attached to the roof), which, as an image, has stuck with me throughout the years. Many of the themes I’ve explored throughout my practice – from ice cream imagery to depictions of said tiger – relate to my memories of the family business.
What are some of your proudest artistic achievements to date?
Being awarded an Honorary Doctorate and Honorary Fellowship from the University of Arts in London was definitely a highlight. I think my Tate Winter Commission is up there, too. It’s an achievement I’m really proud of. When other institutions had closed in the second lockdown, my installation provided the public with a destination to absorb some positivity in a time this was sorely lacking – that gives me a lot of joy.
Much of the work I do with charities brings a sense of pride, too. I’m an activist, and using my art to support the fundraising behind a number of brilliant campaigns is so important to me. At the moment, I’m creating a print for WWF’s Fight Against Climate Change campaign.
What would your advice be to an aspiring artist?
Work hard, find your skill set and, ultimately, be true to yourself.
Being awarded an Honorary Doctorate and Honorary Fellowship from the University of Arts in London was definitely a highlight. I think my Tate Winter Commission is up there, too. It’s an achievement I’m really proud of. When other institutions had closed in the second lockdown, my installation provided the public with a destination to absorb some positivity in a time this was sorely lacking – that gives me a lot of joy.
Much of the work I do with charities brings a sense of pride, too. I’m an activist, and using my art to support the fundraising behind a number of brilliant campaigns is so important to me. At the moment, I’m creating a print for WWF’s Fight Against Climate Change campaign.
What would your advice be to an aspiring artist?
Work hard, find your skill set and, ultimately, be true to yourself.