- Jezima Mohammed of Jez Look Batiks
The heritage textile craft of batik is one that forms the base of a small but vibrant textile industry in Sri Lanka. Batik is characterised by the use of wax-resist dyeing techniques to create intricate designs on cotton and silk fabrics. Originating in Indonesia, batik was introduced to Sri Lanka during the period of Dutch colonial rule and has since evolved into a unique form of fabric art, one of those crafts that is seen as being quintessentially Sri Lankan.
However, the intricacy, skill, and time that go into making batik combined with high production costs and limited demand means that this textile craft has been at risk of dying out for some time now. While batik still makes up a huge part of our national identity and many Sri Lankan designers and brands use it, the fact that it is such an intensive skill makes finding and training artisans harder.
The Sunday Morning Brunch recently sat down with Jezima Mohammed of Jez Look Batiks. Now 84, for 55 years, Jezima has tirelessly pursued the craft of batik, training local women and travellers in the intricate craft that she too came upon somewhat by accident.
The start of a lifelong love affair
Jezima’s love for art was evident from a young age. She spent her childhood painting and drawing, often creating artwork based on the experiences and stories shared by others. Her first encounter with batik came unexpectedly during a cooking class, where she saw a batik piece created by the renowned Ena de Silva.
“I saw that first batik and knew I wanted to learn it because I saw the cracks, and this is what I love. It was very special art,” Jezima recalled. This moment ignited her passion for batik, setting her on a path that would define her artistic career.
With the help of her cooking teacher, Mrs. Hanwella, Jezima found a batik instructor and began attending classes with a small group in Matara. She quickly mastered the basics of dyeing and applying colours.
Her first creation was an off-white sari adorned with light gold, brown, and red roses. When asked if that first piece was something she still carried with her, Jezima shared that she hardly held on to any of her pieces.
“Everyone used to ask for my clothes,” Jezima said, reflecting on the early days when her work was already in high demand among friends and family. This hasn’t changed and even to date, she often forgets to photograph her work before it leaves her workshop.
While batik was something Jezima first learnt out of passion alone, the move to start a business – what would become Jez Look Batiks – came about by accident.
Her family was in the handloom business. Their home was filled with 30 handloom machines, producing bed sheets, saris, and shirting material. However, a major rainstorm in 1971 damaged their warp, leading to a shift in focus.
Jezima began training local girls in batik, transforming her hobby into a shared craft. “It was more a hobby than a business; even the girls weren’t bothered. They were also enjoying learning,” she explained.
From hobby to business
As her batik skills evolved, Jezima’s reputation grew. Encouraged by her husband and volunteers from England, she formalised her work under the brand name Jez Look in 1975. Unlike a traditional shop, her home became the centre of her operations, where she fulfilled custom orders and welcomed visitors who sought her unique creations.
Jezima’s artistry soon gained international attention. A chance visit from Swiss and American tourists led to her first major commission: a batik piece inspired by a temple in Polonnaruwa.
“They wanted to make a picture from the Polonnaruwa temple; that was the first picture they wanted as a business,” she recalled. This project marked the beginning of her journey into the global art scene. Her work was featured in guidebooks, attracting a steady stream of international visitors to her workshop.
In 1979, she even opened a shop in Colombo at Galle Face Court with the support of her foreign students. However, the political turmoil of the 1980s, including the 1983 riots and the onset of the civil war forced her to close her shop in Colombo and return to Matara. Despite these setbacks, she continued to create and share her art.
“The 1980s were the most challenging times,” she admitted. Yet her resilience and unwavering passion for batik kept her going.
An unofficial royal warrant
One of Jezima’s most notable achievements is her recognition by Queen Elizabeth II. Encouraged by her mother, a devoted admirer of the late Queen, Jezima sent her batik creations to the British monarch.
“My mother asked me to send something to the Queen. She loved the Queen,” Jezima reminisced. And so, on three separate occasion, Jezima reached out to the late Queen, sharing examples of her work and receiving a commendation from the palace each time:
- For the Silver Jubilee (1977): Jezima (at her mother’s behest) sent a batik picture of the Queen standing near a pillar with a red and blue cloak. She received a letter thanking her for this artwork.
- For the Golden Jubilee (2002): After her mother’s recent passing, Jezima decided to create a significant piece for the Queen’s Golden Jubilee as a tribute to her mother’s love for the Queen. This piece depicted 50 elephants and 50 dancers and was 50 metres long. For this too she received a special letter of thanks from the Queen.
- For the Platinum Jubilee (2022): Jezima sent three headscarves to the Queen. She received a reply along with a photograph of Queen Elizabeth II wearing one of the scarves. This was shortly before the Queen’s death in September 2022.
A half-century of tireless passion
Jezima’s journey has not been without challenges. Most recently, the Covid-19 pandemic and the economic crisis presented another hurdle, leaving her with unsold pieces and financial strain.
“After Covid, we couldn’t sell; things were not moving at all. I had to pay my girls and look after them,” Jezima said. Nevertheless, she remained committed to her craft, with her family, including her granddaughter, stepping in to help sustain the batik tradition during the lockdown.
Throughout her career, Jezima has been dedicated to mentoring new artisans. She believes in the importance of providing space and opportunities for aspiring artists. “They must love it. Art is love; they must love it,” she asserted. She continues to train local girls in addition to a young autistic man who finds solace in the meditative process of waxing.
Her vision extends beyond her workshop. Jezima advocates for regular art shows and better support for artists, drawing inspiration from models in other countries. “If you want to retain more girls, you have to get the girls and give space,” she emphasised. Her commitment to nurturing the next generation of batik artists is a testament to her enduring legacy.
Despite the challenges, Jezima remains hopeful and passionate about her work. She continues to receive international invitations for exhibitions, including a planned event in London later this year. For her pop-up in Colombo last week, she created a stunning collection of 50 pieces of batik items, from tablecloths and cushions to clothing and tapestries, showcasing her meticulous craftsmanship and vibrant designs.
As she looks to the future, Jezima remains committed to her craft, ready to share her passion with the world until the very end. “I plan to keep going on until the end. I will stop when I need to,” she said, embodying the spirit of an artist whose love for batik knows no bounds.