• George Keyt Foundation’s ‘Sri Lankan Artists 2024’ returns

The much-anticipated ‘Sri Lankan Artists 2024’ exhibition, organised by the George Keyt Foundation (GKF), returned after a six-year hiatus and was held at the J.D.A. Perera Gallery from 22 to 26 March. 

More than just a display of artistic prowess, this exhibition served as a pivotal platform for both established and emerging artists, providing them with invaluable opportunities for recognition and growth. As the GKF continues to forge ahead, it was shared at the inauguration event that plans were underway to establish partnerships with governmental bodies and extend the reach of Sri Lankan art onto the global stage, ensuring that the voices of its artists resonated far and wide.

The ‘Sri Lankan Artists 2024’ exhibition witnessed an overwhelming response, with an impressive tally of over 60 applications flooding in from artists across the nation. From among this diverse pool of talent, a panel of judges carefully selected 10 artists whose works stood out for their innovation, skill, and artistic merit. 

These talented individuals, namely Asela Abeywardene, Channa Ekanayake, Chaminda Gamage, Chathurika Jayani, Dillai Joseph, Sivasubramaniam Kajendran, Prageeth Rathnayake, Fathima Rukshana, Pradeep Thalawatta, and W. Nayanananda Wijayakulathilaka, were granted the opportunity to showcase a number of their works at the exhibition. 

The diverse nature of the artists featured, inclusive of various art mediums and unique artistic expressions, added to the vibrancy and richness of the exhibition. This diversity proved to be an intrinsic aspect that set the event apart from others.

A notable moment at this year’s exhibition was the coveted ‘Artist of the Year’ award, a recognition of talent and artistic excellence. This prestigious accolade was awarded to Sivasubramaniam Kajendran from Mullaitivu, whose exceptional contributions to the world of art have left an indelible mark on the cultural landscape of Sri Lanka. 

Alongside this award, the exhibition also showcased the presentation of the ‘Memorial Award,’ a tribute to visionary GKF Founders Sita de Silva and Cedric de Silva. 

The selection process for these awards was conducted meticulously by an esteemed panel of judges, comprising architect Palinda Kannangara, independent artist Anoma Wijewardene, and British Council Sri Lanka Country Director Orlando Edwards. Their collective expertise and discerning eye ensured that only the most deserving artists were bestowed with these accolades, thereby upholding the legacy of artistic excellence synonymous with the ‘Sri Lankan Artists’ exhibition.

Speaking to The Sunday Morning Brunch on his remarkable achievement and the artwork he had presented at the exhibition, Kajendran expressed profound gratitude for the honour bestowed upon him, emphasising on the nature of the Sri Lankan art landscape and noting that the present system did not inherently foster the commercial success of artists. 

Reflecting on the dynamic landscape of artists in the country, Kajendran noted the invaluable platform provided by the exhibition, which not only celebrated individual talents but also elevated the entire artistic fraternity. “It means a lot to have this type of platform to get our art seen and recognised,” he said. 

He expressed appreciation for the meticulous curation of the event, recognising its role in bestowing a sense of validation and prestige upon the featured artists. Furthermore, Kajendran conveyed his heartfelt appreciation for the efforts undertaken by the GKF in revitalising the exhibition, applauding its unwavering commitment to nurturing and showcasing local artistic talent. 

As he basked in the glow of this well-deserved recognition, Kajendran expressed optimism for the future of the Sri Lankan art scene, buoyed by the renewed vigour and enthusiasm generated by events such as the ‘Sri Lankan Artists’ exhibition.

Similarly, Asela Abeywardene, one of the artists selected for the exhibition, expressed her gratitude for the opportunity while reflecting on the significance of the event. She particularly acknowledged University of the Visual and Performing Arts Department of History and Theory of Arts Head Dr. Priyantha Udagedara, whose expertise in art curation had played a pivotal role in orchestrating the exhibition and shaping the selection process. 

Abeywardene elaborated on the rigorous application process, highlighting the requirement to submit multiple pieces for consideration. In her case, she had submitted five of her distinctive ceramic sculptures, highlighting her unique artistic style within the Sri Lankan context.

As a ceramic artist, Abeywardene recognised the relatively lesser-known status of her chosen art form in Sri Lanka and welcomed the opportunity for greater visibility and recognition, noting: “Especially for artists like myself, this is a novel thing.” 

Abeywardene pointed out the transformative impact of curated exhibitions in elevating the status of artists and their work, emphasising on the potential for such initiatives to raise the profile of the local art scene. Moreover, she noted the importance of legitimacy and recognition afforded by curated exhibitions, citing their ability to garner attention from art critics and collectors alike. 

As she reflected on the exposure and validation provided by the exhibition, Abeywardene expressed heartfelt appreciation for the platform it had offered to artists like herself to showcase their talent and creativity on a broader stage.