“My creations are not just sculptures; they are whispers of stories etched in different mediums, breathing life into the essence of our heritage.”

Biren Singha

Biren Singha, a prominent Indian artist of diverse talents, was born on the 13th of April 1951, in Chhaygaon, a town nestled along the southern banks of the illustrious Brahmaputra River, within the region of Kamrup, Assam, India. His formative years were fraught with the realities of financial struggles. Being the eldest among four brothers and two sisters, Biren shouldered significant responsibilities from a tender age, compelled to contribute to the family’s sustenance. Remarkably, at the age of a mere eight years, he commenced his labour at a tea stall, deftly balancing both the rigors of his young professional pursuits and his academic endeavours even before the age of seven. During those difficult times, Biren Singha’s determination to make a living led him to work as a rickshaw puller, where he toiled tirelessly to earn his livelihood. Despite the physically demanding nature of this occupation, he never lost sight of his artistic aspirations, and drawing became a means of solace and expression amidst the hardships.

A transformative incident, wherein a stern teacher’s rebuke ignited his artistic potential, set him on a path of perseverance and practice. It is at this juncture in Biren Singha’s life that a pivotal incident unfolds, which would leave an indelible mark on his future trajectory. This transformative moment owes its genesis to the stern reproach of a severe teacher at his school. This scolding, rather than disheartening young Biren, stirs something within him, leading him to explore deep into the reservoir of innate talents concealed within his being. As a consequence of this seemingly harsh rebuke, Biren’s hidden artistic abilities find expression and begin to blossom, ushering in a profound turning point in his life. Despite facing challenges, Biren excelled in both handwriting and drawing, emerging as a proficient calligrapher and artist in school. This reputation earned him opportunities to showcase his talents on certificates and banners. However, as his artistic journey was blossoming, family responsibilities took precedence when his father fell ill. To support his family, Biren ventured to Guwahati in search of fresh prospects.

The initial phase of Biren Singha’s life in Guwahati was marked by adversity, enduring nights of hunger on the streets. Yet, his unyielding determination led him back to his true passion for art. Amidst a vibrant tapestry of colour, he transformed canvases into vibrant expressions, crafting signs and pavilions for exhibitions and art fairs. In Guwahati, Biren Singha found an avenue to showcase his artistic skills through the painting of movie posters. He honed his craft and mastered the art of creating captivating and visually striking movie posters that not only caught the attention of common men, and motion-picture fans but also garnered admiration from the film industry. His emergence as a sign-board painter found support in Ramesh Deka, aiding his journey through turmoil as gradually the demand for film poster painters was engendered. Acquaintance with fellow artists like Benu Mishra and Barindra Roy enriched his perspective. As the founder member of the Guwahati Artists’ Guild in 1976 also elevated his artistic ambitions, thus Biren Singha’s artistic journey is one of multifaceted evolution, encompassing roles as a signboard painter, film poster artist, sculptor, pavilion designer, and art director. Through a seamless shift, Singha harnessed his innate artistic sensibilities to master the sculptor’s craft, showcasing an innate ability to adapt his skills and channel his creativity into a wholly new medium. Biren Singha’s artistic journey commenced in the realm of humble yet foundational roles, encompassing that of a signboard painter and a craftsman behind film posters. This nascent phase was defined by pragmatic artistic expressions, frequently commissioned to convey commercial messages or encapsulate the very essence of cinema on canvases. Within this temporal context, Singha adeptly honed his proficiencies in colour management, composition, and the art of visual narrative aptitudes that would stand as cornerstones, profoundly influencing his subsequent creative pursuits. A particularly noteworthy facet of this phase was Singha’s unique apprenticeship, primarily culled from the cover designs adorning film record players showcased at the esteemed Bharali Brother’s music emporium in Guwahati. Amidst the ebb and flow of his vocational duties, moments of respite would find Singha at the window display of the shop, intently immersing himself in the nuances of colour application. This self-directed study, akin to an autodidact devotion, germinated into Singha’s mastery over colour juxtaposition – an expertise that he adeptly transmuted into his cinematic posters with resounding success. This formative period not only traces the bedrock of Singha’s artistic ingenuity but also underscores the transformative potential of seemingly mundane surroundings, which burgeoned into wellsprings of profound inspiration and enlightenment. As Singha transitioned from signboard painter to film poster artist, his artistic palette expanded. The vibrancy of cinema necessitated bold and eye-catching visuals, prompting Singha to experiment with colours, contrasts, textures, and dynamic compositions. These experiences gradually broadened his artistic horizons, providing a playground for him to experiment with diverse visual elements. This courageous leap underscores not only his versatility but also his indomitable spirit, ultimately leading him to carve out a profound legacy in the realm of sculpture. In a 1981 publication in the Times of India, the esteemed art historian and critic Keshav Malik remarked that Biren Singha transcends mere academic competence to fashion imaginative and intricate compositions, reminiscent of the style found in the vibrant and colourful images of Willem de Kooning, a renowned abstract expressionist artist. Malik’s observation highlights Singha’s capacity to evoke a similarly dynamic and bold artistic approach in his work.

Biren Singha’s transformative journey took an evocative turn during his 1978 visit to Karbi Anglong. This experience evolved into an immersive three-decade sojourn, characterized by an unwavering bond with its landscapes and inhabitants. This connection notably with figures such as Samsing Hanse and Jayanta Rongpi, kindled within him a profound commitment to enshrining human lives and narratives within his artistic creations. This marked a pivotal juncture, catapulting him into the sphere of sculpture. Beginning with his inaugural sculptural rendition, recounting the legend of ‘Rongharpi Rongbe’, an icon of rebellion, stands as the sole recorded Karbi woman leader in their history known for her fierce leadership. As the wife of On Teron and mother of Thong Nokbe Teron, she led during a time when the Dimasa king raised tiger cubs with human milk. When demanded to contribute her milk to the king’s soldiers, Kareng’s furious response led her to use an axe to repel them. Aware of impending Dimasa retaliation, she wisely advised her people to flee rather than face a stronger adversary. The three-dimensional relief sculpture created by Biren Singha vividly captures Rongharpi and her companions, evoking a sense of determined motion. In the three-dimensional relief sculpture, Biren Singha adeptly encapsulates the legendary narrative of ‘Rongharpi Rongbe’ through skillful artistic choices. Singha’s portrayal vividly captures the essence of Kareng’s defiance and leadership. Through the dynamic use of form, he conveys the intensity of Kareng’s furious response by depicting her, wielding an axe against the soldiers. The composition and arrangement of figures in determined motion evoke the urgency of her counsel to her people. Singha’s sculpture masterfully translates historical events into visual art, breathing life into the courageous tale of Kareng’s stand and the strategic wisdom she displayed.

Situating Singha’s journey within the historical and socio-cultural fabric of the late 20th and early 21st century Karbi Anglong, his sculptures unveil the contextual backdrop against which his artistic transformation unfolded. The region’s cultural nuances, communal dynamics, and historical evolution provide the backdrop against which Singha’s sculptures can be analysed. In the historical and socio-cultural context within which Biren Singha’s artistic journey unfolded in late 20th and early 21st century, Karbi Anglong is crucial to understanding the nuances that shaped his creative evolution. The intricate layers of Karbi Anglong’s history, cultural dynamics, and community interactions, illuminate how these elements synergized to provide fertile ground for Singha’s transformative journey.

Nestled in the central expanse of Assam, India, Karbi Anglong stands as a testament to a vibrant historical narrative, interwoven with both indigenous legacy and the imprints of colonial dominion. Against the backdrop of Singha’s artistic expedition, the region was undergoing a gradual emergence from the shadows of British colonial hegemony. In the aftermath of independence, a conscientious drive to safeguard autochthonous customs while embracing the tenets of modernity unfurled, creating fertile ground for the convergence of entrenched cultural paradigms with avant-garde artistic articulations. Within this dynamic milieu, Biren Singha masterfully intertwined his emotive disposition with the socio-cultural fabric, skillfully breathing life into his sculptures. His creations thus become a poignant reflection of the interplay between historical continuities and contemporary trajectories, resonating with the intricate interweaving of cultural narratives that define Karbi Anglong’s profound ethos. The cultural diversity of Karbi Anglong is a kaleidoscope of indigenous communities, each with its distinct traditions, myths, and artistic forms. Singha’s interactions within this mosaic offered him a palette of influences, ranging from various tribes’ intricate textiles to diverse communities’ narrative-rich oral traditions. These interactions would come to shape his artistic inclinations and imbue his works with resonant cultural elements. Central to Singha’s involvement in Karbi Anglong were his interactions with people like Samsing Hanse, Jayanta Rongpi, and Biren Sing Ingti. These collaborations transcended conventional artistic mentorship, representing cross-cultural exchanges that transcended mere aesthetics. The interplay of urban and local sensibilities, facilitated by these relationships, profoundly influenced Singha’s artistic perspectives. As Singha embedded himself in the cultural fabric of Karbi Anglong, the socio-cultural landscape was undergoing transitions that both mirrored and guided his creative transformation. The region’s festivals, rituals, and communal gatherings provided him with a living canvas to absorb the essence of local life, translating these experiences into his sculptures and designs.

Through his rigorous journeying, Singha engaged intimately with the various ethnic communities of Arunachal Pradesh and explored the depths of their intricate textiles, nuanced artistic traditions, and deeply resonant oral narratives. These engagements furnished him with a holistic and multifaceted perspective on the interplay between culture, heritage, and identity. By meticulously immersing himself in the socio-cultural tapestry of each ethnic group, Singha gained a nuanced understanding of their unique worldviews, rituals, and ways of life. This profound interaction with diverse communities living in Arunachal Pradesh led Singha to channel his insights into a corpus of sculptures that reverberate with the essence of these encounters. His artworks serve as a poignant amalgamation of visual narratives, encapsulating the stories, beliefs, and ethos of the varied communities he engaged with. In essence, the sculpture of Abotani and Kipung becomes a poignant narrative that celebrates the universal themes of solidarity, trust, and the indomitable spirit of exploration. It encapsulates the essence of storytelling by inviting viewers to engage with the visual story, sparking their imagination, and fostering a deeper understanding of the intricate relationship between humans and their animal companions within the cultural context of Abotani’s legendary journey.

Singha’s artistic evolution spans his early roles as a signboard painter and film poster artist to his later sculptural endeavours. The evolution of his aesthetic sensibilities, techniques, thematic inclinations, and the transitional phases paved the way for his emergence as a sculptor of note. Biren Singha’s portfolio has burgeoned to encompass over 200 intricate creations. Amidst this diverse array of Singha’s artistic creations, several notable exemplars stand out, notably including vibrant artistic interpretations of revered figures such as Bhupen Hazarika, the esteemed Indian folk vocalist Pratima Barua Pandey, the iconic Mahatma Gandhi, and the statesman Jawaharlal Nehru. Additionally, the oeuvre encompasses commemorative renderings of pivotal personalities such as Deshbhakta Tarunram Phukon, Dr. Bhubaneswar Barua, Chandraprabha Saikiani, and the venerable Swami Vivekananda, and also with a distinctive relief installation located in Guwahati, Assam, dedicated to the portrayal of valiant freedom fighters including Kanaklata Barua, Kushal Konwar, Maniram Dewan, Gomadhar Konwar, Kamala Lying, Bogeswar Phukanani, Piyali Phukan, and Piyoli Barua. These artistic expressions also extend to honour historical luminaries like Sambhudhan Phonglo, an eminent Dimasa freedom fighter whose legacy is perpetuated through a memorial in Haflong, Assam. Equally remarkable are the depictions of cultural icons like Rangsina Sarpo, a folk musician honoured in Karbi Anglong, and a collective sculpture symbolizing the diverse ethnic communities of the Kohora ethnic village in Kaziranga. Adding further depth, a gateway installation in Baxirhat artfully showcases Assam’s multifaceted folk traditions. Notably, the oeuvre encompasses renditions of Chowlung Su-Ka-Pha, the inaugural Ahom monarch, disseminated across disparate locales within Assam. The artistic ensemble extends to include sculptures of historical personages such as Joymaati Kunwari in Sivasagar, Jayanta Hazarika in Guwahati, and Anandaram Barua, alongside commemorations of the enduring legacy of Kalaguru Bishnu Prasad Rabha, each contributing to the rich tapestry of artistic homage. The 35-feet-tall bronze statue of Lachit Borphukon stands prominently amidst the powerful waters of the Brahmaputra River, commemorating the historic Battle of Saraighat in 1671. This remarkable portrayal encapsulates the valorous defense led by Lachit and his dedicated soldiers, thwarting the incursion of the Mughal army into the Ahom kingdom. The statue not only serves as a symbol of resilience but also pays tribute to Lachit’s strategic brilliance and unwavering commitment to safeguarding his homeland. The Battle of Saraighat remains a testament to the indomitable spirit of a leader and his men, united in their resolve to protect their sovereignty. Singha’s artistic oeuvre reverberates with meticulous precision, transcending the confines of reality to encapsulate the very quintessence of his subjects, thereby immortalizing them through the dexterous interplay of form and essence.

The evolution from posters to sculptures marked a significant leap in Singha’s technical prowess. His earlier roles instilled in him an acute understanding of visual communication, which he translated into sculptural form. Techniques learned in capturing cinematic narratives, expressive figures, dramatic scenes, and nuanced emotions were reimagined in three-dimensional sculptures, showcasing his mastery of transforming two-dimensional visions into tangible, textured forms. Singha’s journey toward sculptural prominence was also guided by his shifting thematic inclinations. The narratives he engaged with during his early roles: cinematic stories, and commercial branding, slowly metamorphosed into a deeper exploration of cultural narratives and local myths. This shift was profoundly influenced by his interactions in Karbi Anglong, where he delved into the rich tapestry of indigenous legends and stories. The thematic bridge he constructed from cinematic storytelling to cultural representation speaks volumes about his artistic adaptability.

Singha’s artistic evolution is a testament to the transformative power of immersive experiences and the seamless fusion of diverse artistic roles. From the utilitarian demands of sign board painting to the emotive landscapes of film poster art, Singha’s journey represents a journey of adaptation, maturation, and evolution. By tracing these metamorphic stages, this section offers insights into the foundational layers that sculpted Biren Singha into the sculptor; he ultimately became a journey illuminated by the threads of shifting aesthetics, maturing techniques, and evolving thematic narratives.

Central to Singha’s metamorphosis was his immersion in the local milieu, epitomized by his interactions with notable community figures. Through interviews, oral histories, and firsthand accounts, Singha explores the depth and collaborations with monumental as well as life-size sculptures, and engagement not only influenced his creative expressions but also catalyzed a reciprocal impact on the local culture. At the core of Biren Singha’s profound artistic metamorphosis lies his immersive engagement with the local milieu of the North East region of India. The cultural immersion helps in shaping Singha’s creative evolution. Notable community figures acted as catalysts in Singha’s transformation. The profound influence of Singha’s interactions on his creative expressions is evident in his sculptural works. The narratives he absorbed through conversations and experiences found manifestation in his sculptures, enriching them with layers of cultural resonance. The incorporation of local myths, legends, and stories reflects not only an aesthetic choice but also a homage to the narratives shared with him.

As Singha engaged with the local community, his impact transcended artistic boundaries. His sculptures not only celebrated cultural narratives but also catalyzed a renewed appreciation for indigenous traditions among both locals and outsiders. By translating local myths into tangible artworks, Singha revived stories that were at risk of fading into oblivion, fostering cultural preservation through his creative expressions. Singha’s interactions and collaborations within the local milieu serve as a testament to art’s potential as a bridge between diverse cultures. His sculptures, infused with local narratives, engaged in a silent dialogue with viewers, transcending language barriers and cultural divides. The impact of his works became a point of intersection between urban artistic sensibilities and the traditions of North East India. By bringing the past to life through his sculptures and fostering a cultural dialogue, Singha stands as a living testament to the transformative potential of artistic engagement within a dynamic cultural milieu.

An essential facet of Singha’s sculptural artistry lies in his adept incorporation of local myths, legends, and narratives into his creations. Biren Singha’s sculptural artistry emerges as a realm where cultural myths, legends, and narratives intersect, giving birth to tangible expressions of indigenous heritage. Singha’s masterful incorporation of local myths and legends into his sculptures employs semiotic analysis to unravel the intricate layers of symbolism and meaning woven into each creation. Each figure, each gesture, and every element acquire significance beyond its visual appeal. This analysis unravels the intricate semiotics embedded in Singha’s work, decoding the complex interplay of symbols, signs, and cultural markers, which converge to convey narratives of ancestors, landscapes, and tribal traditions. In northeast India, tribal and ethnic diversity weaves a vibrant tapestry of traditions. Singha’s sculptures become a canvas where this diversity converges. He seamlessly navigates the aesthetic and cultural intricacies of various tribes, meticulously capturing the essence of their myths and stories. The sculptures don’t merely pay homage to these narratives; they echo the voices of forgotten storytellers, keeping ethnic heritage alive.

The sculptures go beyond mere representation; they engage in visual storytelling. Each curve, each contour, and each texture speak to the viewer, narrating tales of ancestral heroes, epic battles, and cosmic journeys. An expert in handling different mediums like clay, fiberglass, bronze, etc., Singha’s sculptures epitomize the fusion of artistic mastery and cultural lineage, forming a unique language that bridges past and present. The intricate artistry Singha pours into his sculptures breathes life into fading oral traditions. By translating narratives into tangible forms, he rejuvenates stories that were once conveyed through the spoken word. This revitalization goes beyond art; it’s a cultural resurgence, igniting a renewed appreciation for the heritage that underpins Northeast India’s ethnic tapestry.

The shift from painting film banners, where two-dimensional canvases are the norm, to sculpting in three dimensions presents a technical leap fraught with challenges. Singha had to grapple with the manipulation of materials, understanding the dynamics of form and structure, and mastering techniques that diverged significantly from those of a painter. The sculptor’s toolkit, ranging from chisels to molds, demanded a complete recalibration of skills, posing a formidable learning curve. While film banners encapsulate narratives within a single frame, sculptures unfold narratives over their entirety. The shift required Singha to embrace a shift in conceptualization, evolving from capturing fleeting moments to crafting pieces that invite contemplation and exploration. Understanding how to encapsulate a story within a 360-degree experience was both, an intellectual and creative challenge. Singha faced the challenge of adapting his creative visions to a new spectrum of dimensions and scales. The grandeur of a sculpture brings with it considerations of proportion, visual impact, and the interaction between the artwork and its surroundings.

Biren Singha’s artistic skill resided in his exceptional ability to infuse his creations with profound human emotions, thereby embracing the delicate nuances of the human experience. Undaunted by the task, he ventured into the realm of crafting life-size as well as more than life-size figures, where he skillfully harnessed his meticulous attention to detail to render portraits that not only bore an uncanny resemblance but also encapsulated the very essence of the subject. Singha’s genius lay in his adeptness at translating the intangible dimensions of human emotion into tangible forms, using his sculptures as vessels to communicate sentiments that transcended words. His commitment to accuracy and authenticity in portraiture was evident through his discerning observation and deft manipulation of materials, resulting in works that breathed life into their subjects, evoking a visceral connection that resonated deeply with viewers. Through his craftsmanship, Singha immortalized not only the physical likenesses but also the intricate tapestries of emotions that define the human condition.

Biren Singha, an emblematic figure of autodidactic accomplishment, has ascended to superiority among North East India’s distinguished sculptors, propelled by years of unwavering resolve. Despite basking in the effulgence of acclaim, his modesty remains resolute. The zenith of his accomplishments found culmination in the bestowal of an honorary Doctor of Philosophy degree during the 28th Convocation of Guwahati University. An enduring testament to his prolific trajectory manifested in ‘Passions and Impressions,’ a seminal publication in 2013 encapsulating his artistic corpus. The year 2014 witnessed a three-day photographic exposition, ‘Life and Works – Passions and Impressions,’ a homage to his creative opus, dignified by the inaugural grace of litterateur Homen Borgohain. Beyond the realm of his sculptural virtuosity, Biren Singha’s purview embraces roles as an art director for cinematic ventures such as Pani, Jirsong, and The Untold Story of Blue Hills.

Biren Singha, who is an accomplished Indian artist, has gained renown as a professional sculptor, painter, art director, and writer, earning the signature “Artist from the East.” He has demonstrated a deep commitment to preserving the cultural heritage and traditional lifestyle of Northeast India through his artistic creations. Employing art as a powerful medium of expression, Singha has undertaken numerous philanthropic initiatives aimed at uplifting and supporting the indigenous communities in the region. His artistic endeavours have significantly contributed to the development of resources for these marginalized groups.

In conclusion, Biren Singha’s life story portrays an individual who faced immense challenges during his childhood but rose above them with the encouragement of his teachers and the artistic talent he possessed. His journey from humble beginnings to becoming a skilled movie poster artist in Guwahati to a renowned sculptor showcases the profound impact that art can have in shaping lives and providing a sense of purpose and accomplishment. In scholarly idiom, Biren Singha emerges as a paradigm of an artist-philanthropist, utilizing his creative prowess to foster social development and advocate for cultural preservation. His sculptures have become integral elements of the region’s urban landscapes, symbolizing the intrinsic connection between art and identity. Through his enduring commitment to the cause, Singha has bridged the gap between art and society, encouraging dialogue on the significance of cultural heritage and the role of art in societal transformation.