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Layering Singh’s distracted pen play with the hypernaturalism of Mogul miniatures and the world of manipulated photographs explored by art historian Christopher Pinney, these pieces have an engaging corporeal presence otherwise absent from the artist’s lightweight, whimsical oeuvre.Ĭomplementing such images of spoofed masculinity, “Line Bombs” featured penises galore. Fantastic armor and weaponry are drawn in hairy thickets of strokes, while faces and heads have been rendered through photocopy transfer. More muscular were four drawings from 2011 featuring Singh as a holy warrior battling phantom forces. I felt as if I were watching an old screen saver from the early days of the PC, or one of those irritating “office assistants,” even before I learned that the artist runs a telecom service in Nehru Place, a computer bazaar in Delhi. A short animated video from 2014 shows the same character cleaning, standing, and strolling. Singh’s napkin-doodle draftsmanship makes his alter ego seem all the more pathetic.

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Most numerous were a series of diminutive pen drawings from 2014, somewhere between David Shrigley and Dilbert, that depict a bigheaded, turbaned Singh boasting about things that are hardly worth mentioninghis love of butter chicken, his dumpy Maruti car, the greatness of his upstanding boyhood. More than a few of the works (all Untitled) in Singh’s debut solo show, “Line Bombs,” exploit this familiar joke. And as you may know from Bollywood, the Sikh alpha male is a widely parodied stereotype in India, not least among Sikhs themselves. If you hadn’t guessed from his name, Gagan Singh is Sikh.