As we go through the lettuce of history we can see that the majority of people in this world are in a pursuit to follow their dreams but not all of them get the opportunity to find their passion in their profession. In this world full of dreamers there is this name Tariq Gill. He lived his  passion throughout his life and he was quite young when he found his enthusiasm for Arts specifically of painting and sculpting.

Tariq Gill was born in Lahore, Pakistan back in 1957 with his amazingly artistic mind but later with the passage of time he sharpened his skills and knowledge in a creative manner by expanding his expertise with extensive reading and practice, and managed to establish his mark. In the beginning of his path, there was a restriction from family regarding studying Arts. So, he studied B.Sc chemicals as back in the  time in Pakistan, Art was not really praised as a profession but against all odds Tariq Gill held on to his passion.  Later he joined Alhamra Arts Council Lahore back in 1977, 1978 for drawing classes while studying chemicals, which helped him in techniques for making pigments, colors and different types of paints including oil paint and casein paint. In some of his paintings he used paints which he created himself. From his early childhood he had strong interest in Arts  and especially drawing which later made him join  National College of Arts, Lahore back in (1983-1988) and followed his passion of arts after finishing his b.sc.

Tariq Gill has done a plethora of commission work since the college days,, some of these were, Lahore Zoo’s Sculpture in a team work in 1986, Quaid e Azam’s sculpture in 1986 in a team work, Mural painting for FreeMason Hall Lahore in 1987 and worked For Fortress Stadium’s “float and stall project” (Kashmir, Forest and Zoo’s ‘float and stall’) in 1987. And made Mural Sculptural Relief of 2×2 feet’s 7 panels for Nishat Center in 1992.
He did not stop there, later his passion lead him to do a variety of projects,  which includes a one man project of A Mural Painting of 6 x 60 Feet at a local McDonald’s franchise in just 18 days record time which breaks down as; 9 days for research, composition and drawing and 9 days for the Painting process. Then He made a Fatima Jinnah’s Portrait in Sculptural Relief for Madar-i-Millat Park, Nazaria-i-Pakistan, The Mall, Lahore back in 2004. And made 200 Masks for Ex-Governor Punjab, Salman Taseer (late) in 2011 (new years event).

Meanwhile he enhanced his expertise in his Art practicing studio in Lahore through the years 1970’s, 80’s & 90’s.  In the year 2000 started teaching ceramics, sculptures, drawing, painting and printmaking at Hunerkada College of visual and performing Arts. In the year 2004 he was offered to join the National College of Arts (NCA) Lahore as an Assistant Professor  where he taught Drawings, Paintings and Sculptures in different tenure at different levels including to the students of BFA and Masters. And he retired as an Associate Professor in 2019.

However,  he’s still linked to academics in one way or another as he is frequently invited for discussions, juries, markings and workshops to various institutions, some are mentioned below.
 
Jury and Marking of Annual Work of Doctors at CMH hospital, Lahore. (2017)

2 days Workshop at Fountain House, Lahore. (2017)

Evaluation and marking of Ph.D Part I at Coopera Gallery, Lahore. (2016)

Jury and Marking of M.Phil at Punjab University,Lahore. (2016)

Jury of Bachelors and Masters at Fatima Jinnah Women University, Islamabad. (2013)

Discussion on Ph.D students display at Punjab University, Lahore. (2010)

Jury and Marking of Bachelors at Multan College of Arts, Bahauddin Zakariya University, Multan. (2010)

Discussion with Ph.D students at Minhas Gallery, Lahore. (2009)

10 days workshop of old ink making techniques (Arzang e Cheen) for M.A students at NCA, Lahore with Ustad Khursheed Gohar Qalam. (2006)

Introduction to ceramic and working with clay Adara Bahali e Mazuran, Lahore. (2004)

My Art Manifesto:

A lot of inner feelings and inspiration comes from my interest in literature and the various incidents I came across in my life. I draw (something) from my imagination & surroundings and then develop on it whenever I feel like it, and it has been like this for the past 45 to 50 years.

Concept & Practice:

My artistic practice spans over five decades, rooted in an ongoing exploration of imagination, perception, and the unseen dimensions of everyday life. What I see in my environment often appears only to me, visions that emerge from shadows, marks, and accidental forms on surfaces. These moments trigger my imagination and evolve into visual narratives shaped by the literature I read, the dreams I experience both in sleep and in waking and even the fleeting impressions formed while watching the world unfold around me.

At the center of my work is a human form that is neither male nor female, constantly transforming its shape. This shifting figure allows me to synchronize form with mood and feeling, giving visual expression to emotions that are fluid and ever-changing. These forms exist within my inner world, my mindscape where imagination and perception merge. 

Every finished artwork begins with a quick, spontaneous drawing, often made within seconds. These initial sketches capture the immediacy of thought. I then revisit and refine them, developing the composition before translating it onto a larger surface. Through this process, I aim to share my thoughts, my imagination, and my inner visions with viewers, inviting them into a space that is both personal and open to interpretation.

Color plays an equally important role in my work. My palettes emerge from imagination, thought processes, and at times from the surrounding environment. The act of composing, refining, and painting is gradual and reflective, allowing each piece to evolve over time into a complete visual statement.

Material is also central to my practice. I often create my own pigments and paints, tailoring them to suit the needs of each work. This hands on approach deepens my connection with the process, making each artwork not only a visual experience but also a material one.

Through this body of work, I am trying to make people understand my artistic journey an evolving dialogue between what is seen and unseen, imagined and felt. I invite viewers to engage with these works, to pause, observe, and discover their own meanings within them, and to walk alongside me in this lifelong exploration of form, fantasy, and equilibrium.

Tariq Gill lives and works in Lahore, Pakistan