Arts
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| Intriguingly
delightful Mr. Chandrajeewa has for some time been a big figure on the Sri Lankan art scene. Many believe him to be one of the most gifted and influential of the island's sculptors and a great portraitist to boot. Primarily known for his work as a sculptor, Mr. Chandrajeewa also counts painting and pottery among his skills. In fact, his first exhibition titled "Creations in Terracotta" (1990), capitalized on his expertise in working with clay and his second exhibition "Art in Pottery" (1997) did the same. "A fresh and innovative approach was given to this age-old and forgotten art form," says Namal Jayasinghe, Mr. Chandrajeewa's biographer. His view was shared by numerous other critics, many of whom consider Mr. Chandrajeewa something of a revolutionary. "He is someone who strays off the beaten track," says Professor Albert Dharmasiri, noted art critic and lecturer at the Institute of Aesthetic Studies in Kelaniya. The artist brings a new dynamism to sculpture, especially as he never hesitates to work with bronze; something very few can lay claim to in Sri Lanka. "His technical achievements are remarkable," says Prof. Dharmasiri, while praising what he terms the "intrinsic eternal value" of Mr. Chandrajeewa's work. The artist's skill is made even more impressive by the effortless manner in which he deploys it. "He'll finish a clay model in an hour. I don't know anyone who can do it as fast," says Mr. Dharmasiri. His swiftness has also been noted by many of his subjects. Arthur C. Clarke for instance, was overheard laughingly referring to Mr. Chandrajeewa as a "photocopying machine". Many artists feel that they must spend hours observing their subject before they even consider beginning to create, explains Mr. Chandrajeewa, adding that this is what causes people to spend days or weeks on a single piece. In contrast, he is often done in a matter of days. He attributes this to his concept of what is required of an artist. "The artist's job is not to copy, instead it is to take an idea and transmit it in a three dimensional form…I observe only for a few minutes and then create," he says. Interestingly, Mr. Chandrajeewa does not use those precious few minutes to memorize the physical characteristics of his subjects, instead he applies himself to the study of the character of his subject. "Art comes from the mind and not from the fingertips," he says, "I observe not the external but the internal." The exhibitions titled "Hundred Impressions on Bronze" and "Form and Feeling" respectively, were ample proof of Mr. Chandrajeewa's maturity as a sculptor. The former, which consisted of a hundred portrait sculptures of influential Sri Lankan personalities, was held at the National Art Gallery in 1994. It included busts of Tissahamy and Arthur C. Clarke; individuals the artist felt were representative of the extremes in Sri Lankan society. While some may identify this exhibition as his biggest challenge, Mr. Chandrajeewa himself demurs. In fact to him everything is challenging and deserving of all his concentration. It is this unrelenting stance that has earned him a reputation as an artist of consequence. Mr. Chandrajeewa, like many other Sri Lankan artists, has had no support from the government; a factor he believes seriously cripples the growth of an artist. Nazreen Sansoni, director of Barefoot concurs. "This country has produced some talented people," she says, "but if one doesn't get the government to push it, you can't get anywhere." She believes that Sri Lankan art would progress by leaps and bounds if only the private sector and the government could join hands to support local artists. Fortunately, Mr. Chandrajeewa, is already in a good place. Recognized as one of the country's greatest "men of the arts" as well as a portraitist who is second to none, his upcoming "retrospective" exhibition promises to attract quite a lot of attention. His collection will be displayed at the Barefoot Gallery from June 7-19. Sure to be dotted with many of his early works, the exhibit is also timed to coincide with the release of Namal Jayasinghe's biography - Sarath Chandrajeewa's Path of Visual Art. Two
originals come to Punchi Theatre The event has been organised by the Shilpa Children's Trust to raise funds for its children's home for 50 destitute girls, develop the Vocational Centre which offers free courses to unemployed women and conduct programmes for tsunami-affected children in Hambantota. The first play Kelani Tissa's Daughter relates a little mentioned incident from the Mahavamsa. Among the somewhat stellar cast drawn from both Sinhala and English theatre are Dinidu Jagoda as Kavantissa, Anjulie Guneratne playing princess Kalyani who is searching to assert herself in another ruler's domain and Manel Jagoda in a supporting role as her kirimaw. Nimal Jayasinghe as chief advisor to Kavantissa, Asoka Rodrigo and Rajindh Perera bringing earthy comments and colour as fishermen and Sandun Wijesiri as a monk seated from beginning to the end telling everyone "I told you so" complete the cast. The second play Last bus eke kathawa (The story of the last bus) directed by Ruwanthie de Chickera and performed by Gihan de Chickera, is written by Dhananjaya Karunaratne, award winning playwright of the Sinhala theatre. Translated into English by 'Stages Theatre Group' it is contemporary drama, which conveys the reality of Sri Lanka's socio-political tragedy and is based on a true story. The play unfolds the story of Amarawansa - a labourer whose 18-year-old son is abducted during the 1989 insurrection. Amarawansa's story is told with sensitivity and wit, highlighting Sri Lanka's political culture and the plight of the common man. Through the use of local humour, satire and strong direct language, playwright Karunaratne unravels the power structures in modern urban life. |
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