"I don't plan my work completely. It comes together. Like life," said Gill, reflecting on his artistic philosophy that has guided him through a remarkable career spanning nearly six decades.
Gill's artistic development has been shaped by his unique life journey, moving from India to Kenya and eventually settling in Nottingham, England, where he dedicated nearly 30 years to teaching art at what was then South Nottingham College. His house has become filled with artwork accumulated over his long and productive career.
Born in India, Gill relocated to Kenya following his father's death, where he initially worked at a garage. However, his artistic talents soon became evident when he won first prize at an exhibition in 1959 with a painting titled "Sita." The recognition was significant not just for the honor, but for what it represented to the young artist.
"Someone offered me a thousand shillings for it," Gill recalled. "But I couldn't sell it. It was the beginning of everything."
This pivotal moment marked the start of his serious commitment to art. Gill subsequently moved to the United Kingdom in 1963, eventually settling in Nottingham in 1972. There, he pursued formal art education, earning diplomas in Art and Education and later obtaining a Master of Arts degree in Fine Art. He then became a lecturer at South Nottingham College, where he taught for almost three decades.
Gill's impact as an educator has been lasting and meaningful. "Whenever I am going through Nottingham, ex-students come up to me and say how I motivated them," he shared. His teaching approach was distinctive and personal: "I showed them my own work in the college so that students could see what I was doing, not just what I was teaching."
Artistically, Gill's style has evolved significantly over the years. While he began with landscape painting and realism, he later embraced abstraction, collage, and installation art. A defining characteristic of his work is his use of recycled and found materials, including polystyrene, cardboard, and even discarded paint palettes.
"Recycling is the right word," Gill explained. "I use what I find. Nothing is wasted."
This sustainable approach to art-making reflects both environmental consciousness and creative resourcefulness, turning everyday discarded items into meaningful artistic expressions.
Gill's work frequently explores themes of cultural remembrance and spirituality. 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 said. "So I painted something she could really relate to." This demonstrates his ability to adapt his artistic expression to connect with different audiences while maintaining his personal artistic integrity.
Behind every successful artist is often a strong support system, and for Gill, that support comes from his wife, Inderjit Gill. She has played a crucial role throughout his career, handling communications, organizing exhibitions, and ensuring her husband could focus entirely on creating art.
"When he's painting, he doesn't think about anything else – even his tea," Mrs. Gill observed. "He's in a meditative state."
Her dedication to supporting his artistic career extends to their living situation as well. "I like living in an art gallery," she said with a smile. "I say to him – let's put more work up."
During the 1980s, Gill became a prominent figure in Nottingham's Asian Artists Group, contributing to the local art community and helping to establish a platform for South Asian artists in the region. His work has been exhibited widely across the UK, from Leicester Museum to the New Art Exchange, building a reputation that spans decades.
The recent recognition comes through his inclusion in Alina Khakoo's "A Brief History of British South Asian Art," published by Tate Publishing. His piece "Earth Shrine" appears in this comprehensive survey of British South Asian artistic achievement. The painting exemplifies Gill's mature style, combining texture, natural forms, and metaphorical elements in what experts describe as a reflection of his compound, intuitive approach to art-making.
"I don't plan my work completely," Gill reiterated. "It comes together. Like life."
This organic approach to creativity has served him well throughout his long career, allowing his work to evolve naturally while maintaining authenticity and personal meaning.
For Gill, being included in such a significant publication represents the culmination of decades of dedicated artistic practice. "All artists want to be acknowledged," he said. "This is gratifying. Surprising. An honour."
The recognition is particularly meaningful as it places his work within the broader context of British South Asian art history, acknowledging not just his individual achievements but his contribution to a rich and diverse artistic tradition that has helped shape contemporary British culture.
At 87, Gill continues to create, his home serving as both studio and gallery, filled with the works of a lifetime dedicated to artistic expression. His story represents not just personal achievement, but the broader narrative of immigrant artists who have enriched British culture while maintaining connections to their cultural heritage and spiritual traditions.
