Jogi Makhani is a sculptor, painter, and a poet. He has participated in various art shows, group shows and solo shows in India, France, Canada and USA. He was born in Ottawa in 1959. When he was seven months old his dad, a doctor, left Canada because he felt the people in India needed him more. Jogi grew up in India and lived there for the next 30 years with no regrets. He completed his BFA (Painting), MFA (Print Making), studied bronze casting in India, and completed a year at Ecole Nationale Superieure Des Beaux-arts, Paris, France. At 31, he adventurously decided to come to Canada.
He defines art as the desire to create, to engage in the labyrinth web of our very being, to seek solace, a sensibility, a contradiction to the turmoil this world is engulfed in. It seems a constant flow, a constant battle to evolve beyond the gasping breath. As raw emotion churns the very soul, it needs more than just a language. He asks how can he express a bouquet of a gazillion colors in a language of 26 characters? It needs more. And so. He sculpts. He paints. He expresses.
Congratulations on your win for Best of 3D Works Award at the 2020 Toronto Outdoor (Online) Art Fair. This was your second time exhibiting in the fair. How did it feel to win an award?
Thank you, it was totally unexpected, a pleasant surprise, a sense of accomplishment. I work mostly in isolation except for the occasional passerby pausing by my studio garage wondering what I am up to, mustering up the courage to come talk to me. My mantra in life is to be true to the Self. If you are, it will show in the work and so a part of me felt at peace. It took a while to realize how much of a deal it was. And of course I had to share it with my Mom in India, my biggest fan. (Online sales through Toronto Outdoor Art Fair are available until December. You can find Jogi’s gallery here.)
At what age did you realize that you wanted to be an artist?
I think the seed was sown around the age of 8 to 10, in the late 1960’s. My Dad was an orthopedic surgeon, but painting was a serious hobby to him. I realize that now. He would wake up before dawn and paint the morning sunrise live. He had his canvas on an easel on the porch and it remained there the whole time. I remember the scene. There were three distant rows of tall coconut trees and the sun rose beyond them. I was very inquisitive and would touch the oil paint with my finger. He always came to know that someone had smudged the paint. After it was complete. I distinctly remember someone asking him as to why he painted the trunk of the trees navy blue. His response was “That’s how I see it”. That one sentence was etched on my brain. That became my mantra. Art is what you feel for. Not what you feel like. I was doing paintings with titles like, Purity of Life, Simplicity of Life in my early teens.
I remember there was an art exhibition in the medical college campus in Pondicherry, India. My Dad wanted the whole family to take part in the show. The fun part was we were to paint on the same canvas and his condition was that we were to use anything BUT traditional paints. It was an abstract painting with Plaster of Paris, toothpaste, colourful Indian spices. It won the first prize but the even funnier thing was it was accidently hung upside down. So at a very early stage, unaware then, I was thinking outside the box. My desire to explore different mediums, experiment with innovative ideas probably stems from an early age.
Your practice is multifaceted. You sculpt, paint, write poetry. Is there an art form that you prefer over the rest?
I truly feel that every medium of expression has its own limitations. As an artist I trust my sensibilities. To me art is life. It’s a personal experience. It’s the journey between birth and death. Our inability to communicate, our fears…desires, drives us to seek a language to express in. And so I seek.
Sculpture is about engaging space. The artist owes it a responsibility as to what’s done with it because he now owns that space. Nothing else will exist in its place. It’s here to stay. It’s a responsibility I take very seriously. It’s the interaction, its engaging, it draws you in but most of all it’s about respect for the medium. The stone you carve is millions of years old, it’s what this earth is made of, so you work with humility and try to portray it in all its glory. Of all the mediums when I am working with stone, I am at peace. I am not a religious person but at that moment I am one with it. When you think of it on a larger scale, you become the very universe you are a part of.
With wood it’s the same. It’s alive. It’s so giving. The trees are the reason we are alive today. Many creatures live off it. Again it’s all about respect. Most of the wood I work with is in total decay. After all the bugs have abandoned it I infuse it with a nontoxic resin in a vacuum chamber and heat cure it in a kiln. This basically petrifies the wood. Now I am able to work with it. It’s well worth the effort because the wood undergoes a dramatic change displaying unusual variations.
Obsession
Stained wormy maple wood and coloured resin cast
28” x 10” x 10”
Even synthetic, man made materials, epoxy resins need the same respect. In this world that we live in, we now realize the impact these products have on the environment. So one must use it with the least amount of harm caused to the planet. You can recycle it in so many ways. I save the cured resin from the containers and crush it and reuse it as a filler or recast it in creative ways.
My painting are more drawings on paper. Pen, ink and brush. All are black and white with subtle colour tints. Ever since my college days I have tried to use colour but for some reason it lacks spontaneity. Growing up in India, the Land of Colour, I find it hard to understand...why?
Ironically you can engage a ‘two dimensional’ piece of paper to create an illusion of space. A vastness of space and perspective. Believe it or not even more so than we see. If you look ahead at a single point, what you see is limited to your periphery vision. But in a painting or drawing on canvas or paper you can create an illusion of an infinite space. You can play not just with form but also with just colour. The use of space, depth, and perspective are fundamentally the tools one can use even in an abstract work. When I work on a drawing, I want the drawing to be a complete whole. I don’t want it to be a cut out, or like a view out of the window or framework. I find it’s more engaging.
Printmaking. There is a very subtle difference between drawing and printmaking. It’s to do with the limited edition prints. It’s an indirect process, you have to think in reverse. The process is what makes it fascinating and the fact that multiple people can own the same work makes it very rewarding.
So, I did my Bachelors in Painting, my Masters in Printmaking and Sculpture, I learnt on my own in India. Through books and meeting anyone who was even remotely connected to sculpture. In the college library there was a book on sculpture titled Methods and Materials of Sculpture by Jack C Rich. It was only for reference in the library, meaning I could not borrow it to take home. There was no photocopier then, so I wrote down at least a hundred pages from it, the methodology of casting bronze and resins and at the end of it all I was casting my own bronze sculptures in my back yard at home.
Prose. Poetry. Imagine. The same alphabet we write with. The same alphabet we speak with. The same alphabet we express in. It somehow transforms in verse. It suddenly becomes a more colourful palette. To me it’s a poor man’s art form. All you need is a piece of paper and a writing instrument. And yet it’s the most effective form of purging your inner demons. Most spontaneous. I sleep with my phone and as I get these sudden sparks of creative thought I hurriedly type it down, bank it so I can work on it at leisure. I have typed in complete poems in my sleep. To me, poetry is the birth of an idea. The germination of a seed and to see it evolve, to fruition is like painting with words. The alphabet, your palette.
Some years ago I had a very bad experience while working on a stone sculpture. I was carving from a maquette when I realized there was a huge crack in the stone. My inability to adapt caused a lot of issues. A total mess. It was a big lesson I learnt that day. I do a lot of sketches and store them on the computer. But when I get a piece of stone or wood I forget about them and work with the material at hand. I study the grain orientation and then based on these intricacies the sculpture emerges. You start with an idea but be open to evolving them, you build a unique relationship with it…it’s a very intimate process but ultimately you will be rewarded.
The other way I work is the opposite of the above. I plan on a concept, sketch it and then look for an appropriate piece of stone or wood, the choice of which is predetermined. And even then, I am not married to the idea and it is open for modifications.
So the question is which one do I prefer. This is how I planned it. As long as I can be physically involved, I will concentrate on sculpture. When my body is worn out I will paint and when I become bedridden I will pen poetry. See I have it all planned out.
My mantra in life is not to give up on life.
The Birth of Creation
Black ash burl wood, Spanish anhydrite stone and LED light
16” x 8” x 8”
What mediums do you work with?
Currently I work with epoxy, urethane resins, salvaged wood and stone. I still do drawing inks on paper. It’s very important to marry the idea to the material at hand. The same idea in different mediums would be very interesting. That’s a thought. See my mind is off on a tangent here and am already thinking about it creatively. An idea. The same idea as a poem. As a sculpture. As a painting. Won’t it be intriguing?
So your practices inform each other?
Once an idea comes to mind, I contemplate on which medium, be it painting, sculpture or poetry is best suited and work from there. I think it’s all inter linked and it works on a sub conscious plane. The fundamentals of visual arts are about the same. In the end it must feel balanced. On its own terms. I think all the arts must find its own balance and its authenticity lies in it. Being an artist is being two entities. When you handle the brush you are the artist but the moment you step back to view the canvas you become the critic. This internal dialogue fuels creativity. It’s very important in one’s growth. I must be constantly evolving.
In a painting the artist controls the colour, the flow, determining the transformation of the blank canvas. When you are working with stone, and wood, the major difference is you let it determine its landscape. You don’t interfere with the natural colours, imperfections, grain orientation. In fact you work with it. The only thing I try to fix are cracks as they interfere with the structural integrity of the finished piece.
How has the pause brought on by COVID-19 affected your practice?
Initially it worked well in the sense that I was able to concentrate more on the work since all the outdoor shows were getting cancelled. I have always tried to make best use of what I have and so I did not let myself be affected with the shortcomings. I was looking forward to the Toronto Outdoor Art Fair in Nathan Phillips Square but was very happy when they planned on going online. I have to compliment them on a job well done. I think they have set the standard high for others to rise up to. After the excitement from the fair died, I have to say that this Covid pandemic has really affected me. I think the seriousness of the pandemic worldwide, the disruption of life that we took for granted, the suffering of people put life in perspective. I think a lot of people took it lightly. I think in times like this we have to do what’s good for people as a collective whole. We cannot be selfish. If we can help that’s great but we cannot be the cause. The least we can do is respect the vulnerable. We owe each other that responsibility.
You have lived and worked in India and France. What would you say are the differences in the art world between Canada and other places?
Let me start off by saying that growing up in India I had never seen a commercial art print on the wall with an even fancier frame. It’s all original art, good or bad, it’s all original. In India, art is a medium of expression. It’s a way of life. Here in Canada it’s a decoration on the wall. The Indian government’s funding for the arts is tremendous. Every government building has murals on the facades, exterior and interior by well-known contemporary artists. My Dad was a doctor and the hospital he worked at had its own art dept. The walls had large paintings on the wall, all depicting the medical profession. The gardens had sculptures all within the medical college campus. It was there at the age of 8, I discovered Rodin’s The Thinker. I later realized it was a replica. Art in India is deeply rooted in its psyche. There are a lot of juried art shows and you can imagine the number of artists that apply. Just getting selected is a huge deal. The award money is huge. I completed the second year of my master’s on money from a single award and I was living in the hostel. There are open studios all over. At least when I was there, you just had to pay for the material you used. It was a nominal fee and if you were able to sell, all the money remained in your pocket. No commissions. You can travel a 100 kms and you see a different traditional art style. The craftsmanship is extraordinary. Innovative bronze casting techniques. The colour and the colour combinations are stunning. A very sophisticated colour palette.
And yet parents are hesitant to let their kids go into art as a profession. The medical field, computer technologies, scientists, engineers and lawyers are still highly sought after. Here is a very interesting anecdote. The school I studied at produced countless doctors, engineers, software programmers, scientists, most settled in the US, UK, Australia. And only ONE artist. Me.
France. The French are so proud of their art and its contribution to the art world. When I was going through customs in Paris, upon learning that I was coming from India to attend Ecole Nationale. Superieure Des Beaux-arts, the customs officer was very curious to see my portfolio I was carrying. For 45 mins we were standing there having a serious discussion on art. He then shook my hand and wished me the very best, telling me as a matter of fact, that I would love my stay in Paris. I loved the fact that a nation had so much of respect for art and artists. The art was all over. It drove me crazy.
Canada. My biggest financial award as an Indian artist in India was from The Elizabeth Greenshields Foundation in Montreal. I got it twice in the 80’s. It was about $14000 in total. So I came here in 1990 with very high expectations. I won a couple of awards in the first year but financially it did not amount to anything. It was then I had the first jolt when I realized that the arts in Canada was not at par. I mean its funding, support, exposure since Canada is still a very young nation.
But I have to tell you that Canada has some of the most diverse art from all over the world. You have so many artists of the highest calibre that migrate here but they find it’s hard to live off it. Some do but most find it very difficult. I remember I used to visit galleries in downtown Toronto and introduce myself. They weren’t even interested to see my work. They told me I would be wasting my time leaving my transparencies with them. It led to severe depression that almost engulfed me. I did not have anyone to talk to. But I was determined not to let it destroy me. I found a job as a screen printer and continued working on my art. Over all these years I have built a studio that I can seek refuge in.
One thing I learnt is that no matter what avenues you have at your disposal, make the best use of them. Don’t fall prey to regrets. The important thing is you must always be productive. It does not matter if you can’t sell or live off it. You must keep at it.
How did your work end up in the United States Library of Congress Office collection?
That’s a very interesting story. I was doing my Master’s in printmaking in India, mid 80’s. There was a Festival of India being organized in San Diego, USA. I am not sure who was organizing it but an American art professor came to India to choose prints for the show. We were very excited that we were dealing with American dollars here, but he insisted we price them in Indian rupees which when converted didn’t amount to much. Nevertheless we were excited with the fact we were exhibiting in the USA. This was the pre computer era. When the show was over we got the news that some of the works were sold and one of them was mine. It was an etching, silver ink on black paper, titled The Silent Observer. After some time I came to know who bought it but I never got paid for it. Somewhere along the trail, to this day, not sure where it got lost. It was only after the Internet evolved that I was able to confirm it was in their collection. It was the highlight on my bio data. The full impact only hit me when I was watching the movie National Treasure and they showed The US Library of Congress building. That’s when I realized it was quite an achievement. So, I have told all my friends in the US that if they ever visit it to look out for my etching print.
When you are creating do you work on one piece until it is complete or are you working on multiple things at once?
Now, when it comes to writing, that’s an ongoing process, but I do work on multiple works at a time…because some of the process is time consuming and time sensitive. I work on them accordingly. If I am working on a piece of wood, I have to place it in the kiln to dry it and that could take weeks and so I concentrate on some other work. The advantage of working on multiple projects at the same time is that when you feel visually or physically tired with one, you can switch to the other. I spend a lot of time in thinking, planning, problem solving, forecasting issues and how to deal with them…Some works need a mold, some decayed wood needs to be processed so I do that. On any given day it would seem like I have done nothing but after few weeks, even months all of a sudden they begin to take shape. It’s a great feeling. I feel that the breaks in between help me look at a work from a new perspective and it helps in its overall form. If I am not happy with a work, I do not discard it but will have it somewhere in sight. I invariably am able to problem solve the issue at hand and be happy with the outcome. That moment when you realize you were able to salvage it from the dump, is a thrill! A high unlike any other.
The Crack
Myrtle wood from California, USA
18” x 6” x 6”
A tribute to Leonard Cohen
How long on average does it take you to complete a piece?
It depends on so many factors. Let me say that I have never been able to finish a work in less than a month. Some of the sculptures have taken more than a year. Again there is a lot of wait time, waiting for the wood to dry which is a controlled slow process. I never hurry with it. My focus remains on the work. I don’t compromise on it.
Do you have any advice for aspiring artists or creatives?
There are no shortcuts. We are living in a time where technology has outpaced life. Inundated with distractions. It’s a challenging time, where we have to be focused and not be distracted with the mundane. Look forward to intellectual stimuli. Be true to your self. When I came to Canada in 1990, there was only one thing I demanded from myself. That was to never compromise on my art. I was willing to undertake any job to survive. I was very protective of my creative being. I took myself out of any situation that I felt was not conducive to creativity. Out of chaos emerges creativity. You control the chaos. Creativity is not about seeking ways to create. It’s the ability to look within, giving your self the license to expose itself. In the end if you are true to the process you will create something.
I always question myself and seek answers. I encourage you to do the same. Always question yourself.
What is art..?
Art is ME. You is ME. You are your own art. Inspiration. Critic. Admirer. Judge. Jury. Executioner. Once you accept that then you can work on the finer elements...the intricate moments that come fleetingly, then disappear. Your thoughts. You must capture them to share with your self. The art that germinates from that, is YOU.
Along with this, I have to mention its invisible friend called craftsmanship that you must develop, helping in expressing, giving it a physicality, its shape, be it painting, sculpture, drawing, music.
If you feel a line is the shortest distance between two dots, express it.
If you feel it's a curve.
If you feel it's a zigzag.
If you feel it’s a squiggly.
If you feel, become it.
What you feel is real. What you see is not reality.
There are some basic questions one needs to ask one’s self. First, what is art and what does it mean to you?
-Are you being true to yourself?
-What drives you?
-Integrity in art. Integrity of self?
-Do you compromise, take shortcuts?
-How do you deal with negativity?
-How do you deal with failure?
-What pains you in the art world?
-What do you look forward to, critique or praise?
-Do you stay open minded?
-What irks you the most?
The more you question, the more the answers will come. You must maintain this inner dialogue.
One of the most important pieces of advice I can give is to keep away from the work of the Masters. Don’t try and seek answers in others. All the answers are within you. Explore the self.
Art is not about now. It’s about the body of work. The longevity in art. Evolving in art. Have a strong foundation. Without a strong foundation it’s very difficult to build on.
I am constantly learning, unlearning, and open to new ideas, it’s a Sisyphean task. One must embrace it. To perpetuity. My advice to me.
Follow Jogi on Instagram .
Interview by Glodeane Brown.
Artwork photos from the artist’s website.
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