Professor Chandraguptha Thenuwara’s annual memorial exhibition commemorating Black July takes place from 23 July to 13 August at the Saskia Fernando Gallery, under the title ‘Meta-Real’. Defined by Prof. Thenuwara as a term combining ‘meta’ – from the ancient Greek meaning ‘beyond’ – with ‘real,’ the exhibition challenges viewers to look beyond the superficial and question the truths presented to them.
In his own words, ‘Meta-Real’ encourages exploration beyond perceived realities, especially poignant this year amidst the backdrop of declared elections and shifting political landscapes.
Brunch visited the exhibition on its opening day and it became clear that ‘Meta-Real’ acts as a bridge connecting the past to the present, offering a profound examination of Sri Lanka’s sociopolitical evolution from the 1980s to the present day.
Prof. Thenuwara’s curated collection continues his insightful exploration of the nation’s complex sociopolitical and cultural dynamics. Through thought-provoking displays and artistic interpretations, the exhibition prompts viewers to contemplate enduring unresolved issues and their implications for Sri Lanka’s democratic trajectory.
By intertwining historical perspectives with contemporary narratives, ‘Meta-Real’ not only sparks critical reflection but also underscores the enduring relevance of art in illuminating societal truths and aspirations.
According to the Saskia Fernando Gallery, “This year, the artist’s memorial exhibition coincides with a contentious period in the nation’s history, occurring in the months leading up to the Presidential Election. Recognising the significance of this juncture, Thenuwara draws parallels between the ‘political dementia’ of today and historical narratives that surfaced during periods of political instability.”
The gallery further elaborates that in ‘Meta-Real,’ Prof. Thenuwara delves into the past to depict scenes of devastation following the 1988-1989 ‘Bheeshanaya,’ inviting viewers to reflect on Sri Lanka’s historical trajectory and highlighting persistent unresolved issues.
“The imagery of felled trees, obstructed roads, lifeless bodies, and damaged power lines exists amidst an aura of stillness. Through a variety of classical genres and mediums – such as drawings, still-life paintings, figurative paintings, and sculptural objects – Thenuwara provides perspective and commentary, prompting audiences to reconsider prevailing sociopolitical narratives and recognise the weight of history.”
Reflecting on a complex national history
Elaborating on the significance of the pieces showcased in this year’s exhibition, Prof. Thenuwara shared: “Since the exhibition series began in 1997 to commemorate the events of 1983, its importance has been in confronting and memorialising the traumatic events of that year, ensuring that these memories persist despite attempts to obscure or rewrite history.”
He highlighted parallels between historical periods marked by power struggles and the suppression of dissent, stating: “Both eras, from the violence and unrest of 1983 to the political conflicts of 1988-’89, reflect ongoing struggles that continue to shape our society.”
Through his exhibition, Prof. Thenuwara noted that he aimed to provoke reflection on these enduring themes and their lasting impact on Sri Lankan society, encouraging viewers to engage critically with the complexities of their nation’s history.
Regarding the new works included in this year’s exhibition, he emphasised their relevance to the current political landscape: “Since last year marked the 40th anniversary of the events of 1983 and this year commemorated the 15th anniversary of the war’s end, coupled with the upcoming elections, political parties are making promises and spreading false narratives. Radical political movements are offering solutions that serve their own agendas.”
He highlighted the exhibition’s purpose in addressing these manipulations and advocating for authentic solutions, noting persistent issues such as land disputes and militarisation. “Military thinking prevails, hindering the release of lands and disregarding local residents in the erection of victory monuments, which only deepen wounds and worsen the situation,” he explained.
Through his artwork, he aims to spotlight these ongoing challenges and advocate for their resolution, stressing the lingering sense of oppression and surveillance faced by many. “My exhibition seeks to raise awareness about the imperative for genuine reconciliation and healing within our society,” he noted.
Central themes
Discussing the central themes of his current exhibition, Prof. Thenuwara said: “The exhibition delves into various themes through a variety of visual forms, including landscapes, figurative compositions, and still life. Many of the works are reconstructed landscapes that vividly portray historical events.”
He elaborated on the artistic intent behind these compositions, stating: “For instance, one landscape depicts the tumultuous aftermath of 1988-’89, featuring scenes of devastation with lifeless bodies, burning tyres, and ruined infrastructure. These reconstructed landscapes appear realistic but carry deeper narratives of history and conflict.”
Prof. Thenuwara expressed his aspiration to create alternative realities through visual art, transcending surface appearances to explore profound truths. “The term ‘meta-real’ encapsulates this concept, drawing from metaphysical principles to transcend mere physical reality,” he explained. “My landscapes, while seemingly realistic, are crafted to evoke historical and emotional narratives that resonate with viewers.”
Further, he highlighted the incorporation of political colours and symbols within his landscapes to reflect the sociopolitical climate of Sri Lanka. “Certain works use symbolic colours like red and green, which signify political affiliations and historical conflicts,” he noted. “This deliberate use of colour serves as a commentary on the current political milieu and the manipulation of political narratives.”
Through these visual representations, he shared that he aimed to provoke reflection and dialogue on the complexities of contemporary politics while illuminating the enduring impact of historical events on societal consciousness.
Memorialisation and a shared narrative
In discussing the integration of memorialisation into his artistic practice, Prof. Thenuwara reflected on its organic emergence, stating: “The concept of memorialisation came to me naturally. During my studies abroad, subjects like composition allowed me to create my own artistic expressions. Sri Lanka was always on my mind, rooted in memories of my homeland and the daily experiences I encountered.”
He recalled how his immersion in news broadcasts, aimed at language learning, consistently placed Sri Lanka in international headlines, often alongside nations like Lebanon. “This continuous exposure to turmoil back home profoundly shaped my artistic perspective,” he explained. Therefore, his artwork not only serves as personal reflections but also as poignant tributes to the sociopolitical narratives and historical events that have defined Sri Lanka’s contemporary landscape.
Regarding the significance of exhibitions like his own and others that contribute to a deeper understanding of historical events, Prof. Thenuwara emphasised: “Yes, absolutely, they are important. My exhibitions go beyond mere artistic expression; they serve as a form of historical documentation and reflection.”
He highlighted the dual purpose of his artistic endeavours, stating: “They aim to illuminate significant events and their enduring implications, fostering a broader comprehension of the impact of these historical moments.”
He further expressed his aspiration to contribute to a collective memory and nuanced understanding of Sri Lanka’s past through art. “Through revisiting and representing these events, I aim to stimulate dialogue and provoke thought, nurturing a shared narrative that resonates with audiences and invites reflection on our societal journey.”
The state of art today
Prof. Thenuwara expressed deep concern about the state of access to art, particularly visual arts, stating: “For many years, successive governments have neglected the visual arts. The survival of visual arts is solely due to the continued contributions of artists, not Government support. There has been nothing – zero! They completely destroyed the National Gallery and transformed it into a water pond, which is absurd.”
He lamented the lack of accessible galleries and museums, noting: “People have few opportunities to explore art. In other countries, even young children have access to galleries and museums, but in Sri Lanka, contemporary galleries are only found in Colombo.
“The confinement of art to a school subject limits materials and original work. Artists cannot easily showcase their work to the public through travelling exhibitions because there are no venues outside Colombo dedicated to visual arts.”
He criticised the broader neglect of cultural spaces, stating: “Look at theatres – they are also neglected. It’s not just Colombo; everywhere else too there is a lack of investment in these spaces. They can destroy but cannot build anything.”
He extended blame beyond the Government, highlighting the role of contracted individuals. “The blame also falls on contractors who take commissions without understanding art or expression.” In a light-hearted critique, he quipped about cultural secretaries, suggesting: “We might as well assign them to agriculture, not culture. The cultural ministries are undermining our cultural heritage, and unnecessary educational institutions are compounding the issue.”
He also expressed frustration over the misuse of Government funds, stating: “We have too many unnecessary projects funded by the people’s money but little done for the people.”
Prof. Thenuwara’s remarks highlight a passionate call for improved support and infrastructure for the arts in Sri Lanka, advocating for a more robust cultural policy and investment in artistic expression and education.
Additional exhibitions
Alongside his exhibition at the Saskia Fernando Gallery, Prof. Chandragupta Thenuwara will curate ‘Visual Persuasions’ at the Lionel Wendt Art Centre, showcasing the perspectives of a younger generation of Sri Lankan contemporary artists on various contemporary issues.
This exhibition features works by Shanika Wijesinghe, Fatima Awrad, Kusal Gunasekara, Kopalapillai Mathiskumar, Susiman Nirmalavasan, Kirushanathan Inkaran, Ravindu Sandaruwan, and Aruna Shantha Kulathunga.
Prof. Thenuwara highlighted the importance of experiencing multiple exhibitions concurrently, including his own, and extended an invitation to the public to visit both ‘Visual Persuasions’ and ‘Home/Land’ at the J.D.A. Perera Gallery.
‘Home/Land,’ hosted by Prof. Thenuwara, explores themes of memory, home, and loss, offering insights into the impact of war and displacement on the people and landscapes of Sri Lanka’s Jaffna Peninsula.
Both exhibitions will be open to the public from 23 to 31 July.
PHOTOS © SASKIA FERNANDO GALLERY