Bachittar "Sammy" Singh, known as Bach, is an artist from Handsworth, Birmingham. A second-generation immigrant from India, his work carries the textures of heritage, community, and the everyday poetry of where he comes from. His practice draws inspiration from psychology, sociology, the environment, and lived testimonies, reflecting a sustained curiosity about how people remember, perceive, and make meaning.

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Working across printmaking, etching, illustration, painting, and drawing, Bach’s practice is anchored in storytelling and the emotional landscapes of human experience. He is particularly drawn to the sensory and psychological dimensions of memory—how a place, object, or fleeting moment can hold both melancholy and magic. His prints often operate like fragments of a wider narrative, each one a sensory “scene” within an unfolding story.

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Printmaking sits at the centre of his practice because of its material intelligence and unpredictability. Bach works collaboratively with his materials, embracing chance and the subtle behaviours of metal, ink, fabric, and found objects. Etching allows him to build layers of meaning—physical, emotional, and symbolic—while the design process itself becomes a form of inquiry. He frequently begins without a fixed outcome; instead, ideas surface through repetition, experimentation, and the discoveries made in the studio.

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Illustration and drawing remain the foundations of his visual language. His imagery often sits between the figurative and the abstract, shaped by a desire to express emotional truth more than literal representation. His work is highly narrative, occasionally graphic, always rooted in feeling. Whether through a line drawing, a painted composition, or a complex etching, Bach aims to evoke atmospheres that prompt dialogue—between viewer and image, and between memory and reality.

Across all mediums, Bach leaves intentional gaps: spaces for the viewer to enter, interpret, and project their own stories. This openness is core to his practice. By weaving together psychology, environment, materiality, and storytelling, he invites audiences not just to look, but to inhabit the work—becoming participants in a shared, unfolding narrative.