Features

BETWEEN ABSTRACTION & EMPATHY IN SARATH CHANDRAJEEWA’S VISUAL PARAPHRASES – PART III

Published

2 years ago

2024/04/22

Thilina Walpola

Prof Panditharathne and Sarath with the statue of Sir Ivor Jenning

by Dr. Santhushya Fernando, Dr. Laleen Jayamanne and Professor Sumathy Sivamohan

Unwritten I, II, III

In Sarath’s exhibition Visual Paraphrases there are three abstract paintings titled Unwritten I, II, III presenting an ‘open’ sequence with the Roman numerals. Why not the current Arabic numerals, we wonder. However, they were not hung together on the walls but arranged among the other more painterly abstract and semi-abstract expressionist work. Despite this, we will consider all three together as the artist himself has offered us a numerically abstract sequence rather than a spatially contiguous one and in so doing has stirred us conceptually to think their interrelationships even as we go deeper into the surface of these works. How shall we do this? Does a surface have depth? Might we slide laterally on it? As Sumathy might say, the ‘interstices’ or ‘gaps’ among the three paintings are significant in their quality of openness, a provocation for thought to take wing, one hopes.

The word ‘Unwritten’ is itself significant, different from the more familiar ‘Untitled’ as it makes one want to know the ‘what’ and ‘why’ of it? It seems significant that Unwritten I was painted on a ‘samara’ ground of the familiar and appealing orange colour and suggested by a wall at the Jaffna Railway Station that Sarath once saw. They appear to be graffiti like markings of fragments of letters, layers of them and also erasures, in black. The lines are ordered horizontally but the surface is disorderly, patches of scrubbings.

In this specific context any sign of erasure carries a hint of violence, memory of linguistic violence in Lankan political history and ethno-nationalism; the tarred Tamil Street signs of the 1950s. Sarath who was a child at the time, was told about the impact of the ethno-nationalist program of 1958 by his father who worked in Jaffna at that time as a multi-lingual policeman. He has visited Jaffna as a child while his father worked there, when he himself lived in Nuwara-Eliya with his grandparents.

Unwritten II evokes ancient history, rock and copper inscriptions and the ‘writing’ or motifs are highly ornamented, like calligraphy – ‘beautiful writing’ and suggests Shodo, ‘the way of the brush’ as in Japanese painting. The soft colours of the ornamental motifs, often curved, are pastel against a reddish hue and the edges of the painting are frayed like an ancient parchment. Whereas, Unwritten I’s hard-edged clearly delineated border makes it self-contained. One wonders if Sarath painted these three works also in chronological progression with one painting leading to the other or if all three were first conceived prior to painting. But then how do we as academics know how an artist’s mind works, its subtle unconscious processes. One feels that these paintings open a portal to ‘pre-subjective’ or pre-personal sensations, intensities and affects. There is no narcissistic Ego in this zone, much less a Super-Ego of the artist in search of his (sic) marketable signature.

“Eyeless in Gaza at the Mill with slaves” Samson Agonistes, Milton (1671)

And Unwritten III is the Ur image (also privileged as the cover image of the catalogue), a tribute to the primordial genesis of the human ‘will to write’… It feels as if making the two previous paintings has propelled Sarath into this embryonic zone of emergence of mark making by hand. The marks in this painting appear to be letters in an embryonic state, appearing to make meaningful shapes or letters. But the plethora of lines are in a virtual state, not yet actualised into letters, words, alphabets, writing. There are no hard or torn edges to this painting which appears without a framing frame as though the movements which animates it can go on without limit, like language itself.

This painting creates a sensation of movement because of the large centred circles. On closer observation they appear not to be concentric circles but a spiral of sorts, which is a dynamic line in nature as in the most ancient nautilus shell or a whirl pool. The horizontal lines in the top half of the painting are fairly tightly arranged, stable, made up of small pieces of charcoal pasted on to the surface of the painting, one by one, creating a slight thickness, a 3D effect, whereas the linear pencil lines are faint and light. But the marks swept up in the spiral are looser, almost playful as it sweeps it all up.

The swirling spiral is lightly brushed with a touch of gold and silver which makes one focus on the ‘ground’ or ‘surface’ of the painting which also has a few dabs of pure white paint. But neither art historical terms feel quite right because the markings seem to emerge from it rather than being simply on it. Are we seeing an embryogenesis of the ‘will to write’, one wonders; a kind of cellular drama of the momentous human struggle to create writing.

As the abstract shapes jostle and play around, writing begins to emerge as a letter here and there or a line about to turn into a familiar letter, say, in Brahmi, Sanskrit, Sinhala or … The overall Black & White with many shades of greys in between, modulates the space. Its regular rhythmic repetitions are like those of nature (not mechanistically uniform) therefore they stimulate the mind’s potential to differentiate this shape from that, this impulse of the hand from that, this material from that. The impulses of the hand and mind, a feel for texture, are perhaps more palpable to ‘the beholder’ of the painting face to face. This is the heady zone of intuitive perceptual awareness or consciousness.

This unusual painting feels like a tribute to the impulse and struggle of language creation as writing, in the movement of the hand, eye and brain in mark making. It’s a play of forms before they solidify into this or that language. A play impulse is perceptible in the many movements (scribbling, doodling, erasing … patterns of lines). We see the struggle of the mind, hand, eye moving towards that profound form of human abstraction, language as such (a symbolic form) which differentiate the human from other animal species but with whom we do share profound feelings.

They say that we started talking way before we began to write. Talking also is a form of abstraction, giving meaning to sounds coming out of the mouth and into the ears. The feel of the painting, its opacity is such that it just might be imagined as a paleo-anthropological object dug up by Siran Deraniyagala (and others), awaiting decipherment.

Sarath wanted a delicate grid of Gauze for his ground/surface/background (which is it?), pasted on a hard board to paint Unwritten III on. What are the implications of this faintly visible choice of a non-geometric grid? It is a hand-made, loosely woven light material with replete cultural and political weight, during this war in West Asia which Israel is waging against the Palestinians in Gaza.

There, where in ancient times, named after the prosperous cosmopolitan port city, Gauze was woven in cotton and silk. But now in Gaza, gauze has become a rarity to dress wounds with because hospitals have been bombed. In the subtle texture of gauze in Unwritten III the mind’s eye feels the presence of a body and of wounds it suffers because the eye itself has acquired the qualities of a touch that heals. Alois Riegel names this mode of up-close perception ‘Haptic’, which is related to a sense of touch. Many, perhaps touched by this painting, had asked Sarath from where they could by the ‘Gauze Boards’.

It is no accident that Unwritten III was purchased by Mr H. D. Premasiri, Sponsor and Chairman of the famed book shop happily named, Sarasawiya (University). It is worth remembering here and informing the Anglophile reader who may not know this history that Sarasawiya also published one of the most significant cultural magazines or newspapers and also sponsored the very first film festival of Sinhala films raising its cultural prestige among the intelligentsia of the country.

The journalists who wrote for the paper were among the most astute commentators on the arts and culture at large. Unwritten III now hangs in the Sarasawi collection at the recently opened branch in Panadura. It’s a pity though that all 3 abstract works were not bought by one collector or by a mandated Contemporary Art Institution and hung together. But we can imagine that an imaginary ‘Museum without Walls’ (ha! Malraux,) might float them in the air, where the winged painting, Flying Doors and Windows of Sundarampuram-Jaffna will no doubt welcome them!

Critical Reception

It appears to be the case that the Colombo centred art world elite and University academics in the Sinhala medium (those invited), have failed to attend this small, modest and quietly engrossing exhibition.

As for the distinguished embassy folk with an interest in Lanka’s cultural life, Sarath’s title is probably too foreign. But unusually, Sarath was trained in Britain, Russia, Japan, with work experience in Florence due to generous scholarships from the governments of these nations. Sarath’s statement of intention (sans rhetoric), is brief and craftsman like in its pragmatism, as is the title, dry even. In the catalogue essay Rev Fr Theodore Fernando Warnakulasuriya S.J. (former professor of the Open University), cautions the viewer not to expect a common authorial signature in a repeatable style to be neatly subsumed under this or that avant-garde ‘ism’.

In an interview with Sarath in English by Naveed Rozais (The Sunday Morning, Brunch), the focus was refreshingly not on ‘the angst of the artist-persona’, but rather on Fine Arts pedagogy and the need for a change in the school curriculum to include training in clay modelling (mati-vada) so as to study the third dimension of depth, to get a feel for it in childhood. It’s Sarath’s 6th solo exhibition and it’s been 18 years since his Path of Visual Arts, in 2005, which was a retrospective of his work (from its beginning in 1990), also at Barefoot Gallery, organised by his past pupils. There has been a flurry of enthusiastic pieces on the current exhibition in Sinhala, both in the press and in blogs, but no long review as yet.

We wonder how robust the theoretical literature on Lankan abstract art is in the three languages and what sort of history abstract art has had in the recent past, since, say, the pioneering work of H. A. Karunarathne in the late 50s. We hope our critical essay (backed up with research), with a principled theoretical-methodological framework will contribute to the existing discourse of Lankan abstract art and be translated into Tamil and Sinhala. Within this context it was heartening to learn that some of Sarath’s former students, now Art Teachers from Jaffna, did come all the way and stayed in a hotel overnight, spending the following day at the exhibition. And some folk had gone to see it several times.

Dominic Sansoni’s Barefoot Art Gallery

In this force field Dominic Sansoni continues to play a significant independent role (oblivious to the cut and thrust of polemics and the deep seated, decades long ferocious, unrelenting hostility to Sarath), at his Barefoot Gallery. As a photographer and the inheritor of Barbara Sansoni’s immense arts and crafts legacy, he has acted with principle, imagination and flare, in widening the public sphere for the arts. In this, he (as a gifted photographer himself), is in that brilliant lineage of Christian Burgher artists of Lanka such as Lionel Wendt, Geoffrey Beling, Aubrey Collette, David Paynter, Chris Greet (his nephew and stage and film actor), Arthur Van Langenburgh (gifted theatre director and known to Laleen as Uncle Arthur at St Bridget’s where he directed Gilbert and Sullivan Operas in the 60s), and Dominic’s mother Dr. Barbara Sansoni (Uncle Arthur’s niece), come immediately to mind.

As VC of the UVPA, Sarath nominated Barbara for an Honorary Ph.D., for her great contributions to Lankan culture, arts and crafts and the economy. It’s worth trying to trace this Christian cultural lineage (for Laleen, as a lapsed Roman Catholic), because she heard recently that a doctoral thesis on Christian Art in Sri Lanka was deemed, by at least one Sinhala examiner, to be not a category of Lankan art! She knows that there is much more of it (including Modernist Chapels in which she has once prayed, designed by Valentine Gunasekera, her brother-in-law), than Sinhala-Buddhist Nationalists would care to know. How can such academics continue to teach in our Universities? Sarath himself has made some significant Christian art in Bronze for the Basilica at Thewatte, though he himself is not a Christian he values the cultural contribution of all the religions of Lanka.

It is also Dominic who made the unusual suggestion, on his visit to Sarath’s Atelier, to include his six year-old granddaughter Ananya Ranmuthugala’s three paintings in his exhibition. Sarath writes his ‘Letter to my Grand-daughter with love’ in paint. It’s a series of neat little hearts in shades of pink and yellow, including flowers and a butterfly, very carefully painted-in without the spilling out.

A bit like the kind of ‘colouring in’ that children who start drawing are instructed to do in Kindy, and so get obsessed about neatness, staying within the contours. Sarath places the hearts within a few rectangles and Ananya responds with her own letters to her grand pa but with spirited expressionist type painterly gestures and bright colours, no doubt inspired by her grandfather’s bold strokes. There is no trace of ‘the art class’ here, though Ananya does take classes with Sarath, along with other children from 5-15. But she also has the rare gift of painting alongside her old grand-father. In writing this piece we also worked alongside each other because it appears to us as a respectful way to collaborate, to make tracks in unfamiliar zones. (Concluded)

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Features

‘The devil is in the details’ in West Asian peace

Published

18 hours ago

2026/06/18

Sahan Weerasooriya

President Donald Trump at the current G7 summit in France. Evelyn Hockstein/Getty Image

It is obviously too early for an outpouring of joy over the seeming cessation of hostilities between the main antagonists in West Asia. While the prospect of there being a measure of calm in the region is being welcomed by considerable sections of the international community, what is ‘on the table’ currently is only a Memorandum of Understanding between the US and Iran to give peace a chance. The hard part in the peace effort remains to be achieved.

In the Middle East of today we have one of the most complex conflicts to break out in modern international politics and the observer would be naive in the extreme to expect a facile and early closure to the tangle. Yet, for the sake of the world’s publics who have been hurting badly in the prolonged hostilities one could only hope that the US-Iran MoU that is expected to be signed by the sides on Friday would lead eventually to a substantive peace. The world’s thanks are due to Pakistan in this connection for its sustained support in the peace drive.

While the sides have agreed to a ceasing of hostilities in the most general terms and have reached accord on the facilitation of uninterrupted oil and gas supplies to the rest of the world, for instance, the ‘devil will prove to be in the details’ in an envisaged comprehensive peace settlement. It is these details that would make or break peace if the negotiations go on in earnest.

Nevertheless, the details would need to be worked out consensually in a spirit of compromise with an eye to the greater good of the world community. Realpolitik or a narrow focus on solely the national interest among the protagonists, for example, would need to give way to a measure of humanity that would encompass within it a consideration of the overall well being of the world. In other words, it is statesmanship that would crucially matter.

The next few weeks would establish whether humanists are ‘asking for far too much’ when they broach the questions at issue in these terms. Yet it is essentially self interest and national security considerations of the first importance that drove the conflict from even prior to February this year and these questions would need to be taken up and resolved to the satisfaction of the US and Iran in the main if some headway is to be made towards a durable settlement.

The nuclear issue would prove to be the proverbial Gordian Knot. From a realistic viewpoint, Iran could not be expected to be without a potential nuclear deterrent in the face of perceived nuclear threats emanating for it from the West and Israel. In the short term, Iran would need to possess this deterrent to a measure, within a mutually agreed international legal framework maybe, until wide agreement is reached on the nuclear tangle. Specifically, Iran’s immediate threat perceptions with regard to her nuclear-powered rivals would need to be defused during initial negotiations.

Ideally it is a world free of nuclear weapons that must be aimed at but since this goal cannot be achieved in the near or medium terms, unfolding negotiations would need to ensure Iran’s absolute security in a world of powers that continue to swear by the nuclear deterrent, if it is to give up the suspected latter capability.

However, it is to the degree to which the present nuclear powers divest themselves of this capability that Iran could be put at ease on this score. Accordingly, it is nothing short of a complete elimination of nuclear weapons from the world that could dissuade keenly security conscious states from developing nuclear weapons of their own with a mass destruction capability.

This is the number one dilemma the international community needs to grapple with going forward and it is to the extent to which it resolves it that a nuclear weapons free world could be envisaged. No doubt, an uphill challenge.

Compelling Israel to support the present negotiatory process constitutes another grueling challenge for the US. Currently the Iranian position essentially is that a Middle East peace is inseparable from a normalization of the security situation in Lebanon. That is, the present Israeli attacks on the Hezbollah presence in Lebanon must cease if a comprehensive peace is to be realized in West Asia.

However, Israel is showing no signs of drawing back from its attacks on Hezbollah strongholds in Lebanon since the security of the Israeli state is being seen as threatened by the militant group. Co-opting Israel into the negotiatory effort therefore would turn out to be a matter of paramount concern for the US.

Moreover, elements in the rightist administration in Israel are seeing the current peace efforts as a ‘sell out’ to the enemies of Israel. They would have none of it. It is left to be seen how the US would be managing these virtual storm centres in the diplomatic process that could very well bring down the overall purported peace drive.

A recent pronouncement by US Vice President J.D. Vance points to yet another problem area in the US’ current peace overtures. He said that, ‘Regional peace and stability includes stopping the funding of terrorist organizations.’ He was obviously referring to the support extended by Iran to Hezbollah when he mentioned ‘terrorist organizations’ but he has given fresh life to the age-old conundrum of ‘Who is a terrorist?’ by these words.

To the Netanyahu government the Hezbollah and other militant organizations fighting Israel are ‘terrorists’ but from the viewpoint of the Iranian regime they are ‘freedom fighters’. This seemingly insurmountable definitional issue would not only stubbornly bedevil the peace effort but could even figure in bringing about its collapse, unless judiciously handled.

Thus, it’s the thorny details that need to be watched to keep the West Asian peace process afloat, once it gets going in earnest. There is no doubt that US President Trump would be receiving a considerable amount of support from the G7 in this historic peace undertaking and his personal appeals to the grouping currently meeting in France for continuous support are likely to elicit a positive response from it.

Likewise, Trump would need to appeal to also the BRICS countries if almost total global support is to be garnered for the peace drive in West Asia. BRICS’ solidarity with the US and the West is likely to carry considerable weight with Iran and other Eastern actors who are key to a sustained peace drive in the Middle East.

Features

Sri Lanka’s elephant paradox: Govt. counts tourism dollars while playing a dangerous numbers game: Expert

Published

19 hours ago

2026/06/18

Sahan Weerasooriya

At a time when Sri Lanka is enjoying a resurgence in wildlife tourism, with elephants remaining the undisputed stars of the country’s national parks and one of its most marketable natural assets, elephant conservationist Supun Lahiru Prakash has sounded a stark warning: the nation is in danger of losing the very species that helps attract millions of tourism dollars while sustaining some of the island’s most important ecosystems.

Supun says repeated claims by authorities that Sri Lanka’s elephant population is increasing, despite the absence of a final survey report and amid continuing elephant deaths, risk creating a misleading narrative that could undermine conservation efforts and encourage retaliation against elephants.

According to Supun, the issue is not merely about numbers. It is about political priorities, scientific credibility and the future of one of Sri Lanka’s most iconic species.

“Repeatedly claiming that the elephant population is increasing appears to be an attempt to hide the Government’s inability to manage the rising annual elephant death rate and the complications of human-elephant conflict,” Supun said.

For decades, the Sri Lankan elephant has been a symbol of the country’s rich natural heritage. It is the centrepiece of wildlife tourism, drawing visitors from across the globe to national parks such as Yala, Udawalawe, Minneriya, Kaudulla and Wilpattu. International wildlife documentaries, tourism campaigns and social media promotions frequently place elephants at the heart of Sri Lanka’s nature tourism brand.

Yet, according to Supun, the country’s conservation policies do not reflect the value of the species.

“On one hand, the Government is enjoying increasing tourism revenue, and elephants remain one of Sri Lanka’s most important wildlife attractions. On the other hand, narratives are being promoted that could encourage retaliation against the very species that contributes significantly to the country’s tourism industry,” Supun said.

According to the First Countrywide National Survey of Elephants conducted in 2011, Sri Lanka had 5,879 elephants. However, official statistics show that 4,167 elephants died between 2012 and 2024.

Supun stressed that these figures represent only the deaths officially recorded by the Department of Wildlife Conservation.

“In a context where more than 70 percent of the country’s elephant population reported in 2011 has died within 13 years, it is difficult to accept claims that the population has increased,” Supun said.

The conservationist pointed out that elephants have the longest gestation period among land mammals and that scientific studies have reported increasing interbirth intervals among female elephants together with high calf mortality.

“When such biological realities are taken into consideration, claims of a dramatic increase in elephant numbers become difficult to understand,” Supun said.

Supun believes that repeated references to increasing elephant populations risk fuelling public hostility towards elephants, particularly among farming communities already affected by crop raids and property damage.

“Such claims can create the impression that elephant populations are exploding and thereby promote retaliation against elephants as well,” Supun said.

According to Supun, Sri Lanka’s elephant crisis cannot be understood solely through population estimates. The real issue lies in the country’s failure to address human-elephant conflict through long-term, science-based solutions.

Sri Lanka continues to record among the highest levels of human-elephant conflict in the world. Every year, hundreds of elephants and dozens of people lose their lives as competition for land and resources intensifies.

Despite the scale of the crisis, Supun says authorities continue to rely on strategies that have repeatedly failed.

Lahiru Prakash

These include driving elephants into protected areas, strengthening electric fences to confine them there and allocating additional manpower to maintain fencing systems.

Supun was also critical of several proposals that emerged from district-level discussions on conflict mitigation, including the sowing of paddy and corn using Air Force drones and the planting of fruit orchards within protected areas.

“Such proposals fail to address the real ecological and social dimensions of the conflict,” Supun said.

While welcoming reports that the Government intends appointing a national-level mechanism to tackle human-elephant conflict, Supun said the challenge required intervention at the highest level of government.

“Given the gravity, complexity and geographical spread of human-elephant conflict, appointing any committee other than a Presidential Task Force is not useful,” Supun said.

He argued that a Presidential Task Force chaired by either the President or the Secretary to the President would be better positioned to overcome the bureaucratic delays and institutional fragmentation that have hindered previous efforts.

Supun also stressed the urgent need to restore and protect elephant corridors and home ranges that allow elephants to move safely across landscapes.

He cited the Koholankala elephant corridor in Hambantota as one example where removing obstacles could help reduce conflict while improving habitat connectivity.

At the same time, Supun questioned policies that permit the allocation of forest lands in areas identified by environmental assessments as crucial elephant ranges and movement corridors.

“The opening of elephant corridors and the protection of elephant home ranges must be carried out scientifically and consistently if they are to succeed,” Supun said.

Beyond tourism, Supun emphasised the ecological importance of elephants.

“Elephants are ecosystem engineers. Through their feeding habits and movements, they help maintain habitats that support numerous other species. In many ways, they create safer and healthier environments for wildlife,” Supun said.

According to Supun, protecting elephants means protecting entire ecosystems and the biodiversity upon which Sri Lanka’s wildlife tourism industry depends.

“By protecting elephants, we are also protecting the biodiversity that makes Sri Lanka one of the world’s premier wildlife tourism destinations,” Supun said.

As Sri Lanka seeks to expand tourism earnings and strengthen its reputation as a wildlife destination, Supun believes the country faces a defining choice: continue with policies that have failed to stem elephant deaths and human-elephant conflict, or embrace a science-based conservation strategy that safeguards both people and wildlife.

Without a fundamental shift in policy and political will, Supun warned, Sri Lanka risks losing not only one of its most iconic species but also the ecological and economic benefits that elephants continue to provide.

“The suffering of both farmers and elephants will only intensify unless meaningful action replaces rhetoric,” Supun said.

By Ifham Nizam

Features

Top Model of the World 2026

Published

19 hours ago

2026/06/18

Sahan Weerasooriya

Back-to-back victory for Colombia

Katherine Castaño of Colombia claimed the Top Model of the World 2026 crown, securing a historic back-to-back victory for her country. Angelica Sanchez of Puerto Rico was named first runner-up, and Eunice Deza of the Philippines finished as second runner-up.

Katherine was crowned by outgoing titleholder Natalia Garizabal Vera of Colombia.

Several special category awards, and subsidiary titles, were also presented during the Top Model of the World 2026 pageant.

These awards recognised excellence in modelling, peer support, and regional representation.

Primary Subsidiary Titles

Sri Lanka’s Netalie Withanage: Top 16 at
the grand finale

Miss Globe 2026: Valentina Tabares (Ecuador) — Awarded to the contestant who perfectly balances fashion modelling with traditional beauty queen qualities.

Queen of Europe 2026: Mia Danielle Williams (United Kingdom) — Given to the highest-ranking candidate from a European nation.

Special Awards Recognition

Audience Iconic Award: Charly (Dominican Republic) — Won via the official public online vote, granting her a fast-track direct entry into the Top 6.

Exotic Model of the World: Angel Emeka (Nigeria) — Awarded for exceptional editorial presence and strong runway performance.

Best Body Award: Thailand — Voted directly by fellow contestants at the Flow Spectrum Hotel. The highest-ranking runners-up for this category included Zambia, South Africa, Colombia, and Ghana.

Angelica Sanchez (Puerto Rico): 1st Runner-up

Final Placement

Winner: Katherine Castaño (Colombia)

1st Runner-Up: Angelica Sanchez (Puerto Rico)

2nd Runner-Up: Eunice Deza (Philippines)

Top 6 Finalists: Included contestants from the Dominican Republic, Romania, and Germany.

The pageant, known for focusing on professional modelling careers over just beauty, brought together 36 models from around the globe for two weeks of runway, photoshoots, and cultural events.

Sri Lanka’s Netalie Withanage walked among 36 of the world’s best and powered her way into the Top 16 at the grand finale.