A collage beyond definition
Amaresh Pereira’s ‘Fire & Ice (In between)’
The recurrent debate about the purpose and role of art has been addressed in a multiplicity of ways. And rather than refute opposing views, it is more fruitful to embrace diversity as was done at an exhibition of drawings and paintings by five artists who refreshingly displayed a variety of styles and perspectives at the J.D.A Perera Gallery on March 4 and 5.
From an exploration of the human condition, the intricate links between martial arts and a simple need to purge oneself of a deep seated need to draw, the symphony of artistic creations was artfully curated. Viewers were made aware of the apparent differences but were also given a sense that unity can be achieved through diversity.
Impeccably recreated
Royden Gibbs’ reimagined cityscapes and historical sites seem to challenge time itself. In a world where cities undergo development and unavoidable changes, the precision Gibbs achieves in his sketches such as that of the ‘Colombo Harbour – 2016’ and the ‘Dambadeniya Rajamaha Vihara’ were visually calming. Added to his exhibits were also moments in the wild which were equally well portrayed.
Abstractions
For Gunadasa Wathuwelagedara each exhibit was born of an unstoppable urge to create. Intriguingly all Wathuwelagedara’s exhibits were untitled. A riot of colour, an amalgamation of textures and interesting figures served as a window to the artist’s mind. Sombre at times, what was most interesting were the distorted, human-looking figures. Among many remarkable drawings, one that piqued my interest was that of two wide-eyed figures huddled under a blanket, enveloped in darkness and a moonlit sky. Are they migrants or a family seeking refuge from the horrors of the night? The beauty of Wathuwelagedara’s exhibits was their ability to raise myriad questions.
A mortal combat
In exploring the roots of martial arts, Amaresh Pereira also delves into the depths of the human soul. His observations are captured with fierce intensity on canvas. The tremendous hood of a cobra and a fearless dancer fuse together in ‘Caging the dragon’. Its fusion signifies the intricate links between martial arts and other art forms that originated in the South East Asian and South Asian region. Conceptually brilliant, all Amaresh Pereira’s creations explore histories he hungered to understand. Exceptional among his exhibits were ‘Fire & Ice (In between)’ and ‘Fire& Ice (The Awakening)’. While the former was an outstanding representation of darkness and light cohabiting sometimes uneasily within the human soul, the latter signified a realization of the parallels that seemed to result in an awakening.
Pereira’s explorations of the deeply personal helped create thought-provoking works of art.
Beauty in the mundane
Beauty reveals itself in moments that go unnoticed by many except a few. A rush of colour and flamboyance highlighted Noeline Fernando’s exhibits. Immersed in capturing social settings, scenery and people that would conventionally be categorized as ordinary, Fernando’s artistic re-interpretations lent them deeper meaning. ‘Women in Arippu’, ‘Grieving’ and ‘Ariya with Araliya’ had a special charm that explored beauty in the simplest and most authentic forms. The creations were indicative of the intuitiveness of the artist.
Membered – Dismembered
Engaging with Michael Anthonisz’s creations meant deconstructing contradictory representations. While Anthonisz is a master at capturing the female form realistically, the artist also endeavored to dismember and understand the transience of a beauty that is traditionally portrayed as everlasting. While ‘ Seated Woman’ and ‘Three Women Seated’ captured my interest, ‘The Future of Statues’ had layers of meaning. Anthonisz very rightly questions modern, distorted portrayals of the female body.
Standing at the entrance to the J.D.A Perera gallery, both enlightened and intrigued by an array of artistic creations, I understood why the artists chose not to give the exhibition a title.It was a collage that was beyond definition and naming.