- The canvases of Prageeth Manohansa
Contemporary Lankan art saw something of a rebirth in the 1990s, with artists defining new styles for themselves. One such artist was Prageeth Manohansa, one of Sri Lanka’s most prominent sculptors. A product of artistic lineage, Manohansa draws inspiration from the legacy of his father, an art teacher whose influence shapes his craft powerfully, even today.
Manohansa is a graduate in Aesthetic Studies from the University of Kelaniya and also studied painting and sculpture at the Banaras Hindu University, India.
Looking beyond the realms of traditional artistry, his journey unfolds as a trained landscape architect seamlessly integrating the disciplines of welding and recycling to create art that deviates from the norm and provokes thought. Noteworthy is his inaugural exhibition – a testament to his prowess, featuring introductory drawings that laid the foundation for subsequent sculptural commissions. What sets Manohansa apart in the realm of artistry is his consummate skill in crafting intricately-detailed sculptures and captivating drawings, evoking a unique aesthetic narrative that transcends conventional boundaries.
Manohansa, an alchemist of materials, breathes life into the forgotten, working with welding and recycling scrap metal and found objects. His assemblage art becomes a canvas for critical narratives intertwining with the organic rhythms of nature. He moulds scrap metal into diverse forms – animals, Buddha statues, and human figures – each piece an ode to the intricate dance between art and the natural environment.
Having sculpted over 5,000 pieces of contemporary and assemblage art, Manohansa’s creations echo globally. From the massive peacock gracing the precincts of the Mattala Airport to the regal horse at the Panchikawatte Junction, the monumental relic in Singapore, and the towering elephant in Malaysia, his art is a testament to the enduring power of creativity, bridging the realms of imagination and reality.
What drives him?
In a heartfelt conversation about his artistic inspiration, Manohansa fondly spoke of his inspiration: “My father was my Picasso.” His words underscore the profound influence of his father, an art teacher, who ignited his passion for art during his tenure at Carey College.
Reflecting on a pivotal moment in his school days, Manohansa reminisced about an assignment that introduced him to Picasso’s renowned artwork, the ‘Bull’s Head,’ a creation ingeniously fashioned from a bicycle seat. Delving into extensive research on Picasso and his artistic oeuvre at the time, Manohansa credited this experience with planting the seeds of inspiration within him.
Navigating through university, a challenging period marked by the loss of his mother, Manohansa recounted the necessity to persevere in his education while concurrently seeking financial stability. Amidst coursework assignments involving sculpture creation, he found a transformative realisation while contemplating the completion of the coursework. He discovered that the choice of medium need not conform to traditional clay; instead, the essence lay in producing the desired shape: “What matters is producing the shape. As long as I produce the shape, it doesn’t matter what medium I use.”
Delving into the intricacies of sculptural art, he emphasised on the importance of studying the subject to ensure the sculpture’s believability. This goes beyond merely assembling a structure; it entails creating a mood, a nuanced understanding that demands dedicated study.
Pursuing art
A dedicated full-time artist, Manohansa attributes his ability to pursue this career to the carefully-cultivated environment he has personally established. Speaking about his creative process, he shared: “I engage in artistic endeavours when I sense a necessity, receive commissions from admirers of my work, or feel compelled to convey a specific message through a piece of art. The creation of my art takes diverse forms, driven by a variety of motivations and inspirations.”
Expressing a concern for the current state of the art scene in Sri Lanka, he acknowledged the absence of a conducive environment for nurturing and sustaining emerging artists. Despite being part of the group of artists that emerged in the ’90s, he lamented the apparent lack of a successor group even in 2024, attributing this void to the absence of systems that support and foster new talent.
Highlighting the role of universities in cultivating the next generation of artists, Manohansa raised concerns about the limitations faced by students pursuing art education. While acknowledging his own status as a product of university education, he emphasised his belief in personally nurturing his creativity and overcoming formal education obstacles.
Critiquing the university system, he contended that it had predominantly produced teachers rather than fostering the growth of innovative artists. He argued that the stifling environment of art colleges hampered the spirit of new artists, hindering their potential for flourishing in the contemporary art scene. He concluded by underscoring the dominance of commercial considerations over artistic integrity in the art world, lamenting the resulting absence of a rich historical narrative in the absence of genuine artistic expression.
Creating the right environment
Discussing the pivotal role of a conducive environment in fostering artistic creation, Manohansa recounted a unique experience, recalling being commissioned to craft a stag from scrap metal in the Maldives. Observing the raw materials sourced for the project, which were predominantly waste products from moulding, he discerned a distinctive trait in the lack of extreme wear and tear.
This contrasted sharply with a project in Sri Lanka: Manohansa had sculpted a tiger using scraps from a local junkyard, where he noted a starkly different approach. The materials in Sri Lanka had been employed until they were no longer functional, exemplifying a culture where items were utilised until their absolute limit. Through these contrasting experiences, he elucidated the nuanced narrative that art encapsulates, revealing the cultural, economic, and even social and political disparities between the two nations and their people. In this intricate interplay of art and cultural context, he noted how the artistic process served as a reflection of the underlying ethos and conditions of a society.
Career highlights
We also spoke to the artist regarding his extensive career, which boasts an impressive collection of over 5,000 pieces and delved into the depths of his artistic journey, seeking insights into the works that hold a special place in his memory.
Amid this vast array of creations, he vividly recounted a distinctive masterpiece from his earlier body of work – a Buddha statue meticulously fashioned from car radiators. With profound introspection, he conveyed the deeply-personal significance of this particular work, emphasising: “The intention and the end results, it is all special to me.”
He elaborated on the uniqueness of this creation, attributing its significance to its role as a potent commentary. Drawing a compelling parallel, he shared: “A radiator is an item that balances the heat in the vehicle, much like Buddhism or other religions. In general, it does this to discuss the role of religion for society, how it is a middleman, and it provides that balance, moderating society.”
Through this insightful reflection, Manohansa’s artistic endeavours transcend mere aesthetics, emerging as profound expressions that intricately engage with the complex interplay between religion and societal equilibrium.
In a poignant reflection on the state of Sri Lankan art, contemplating the evolution of the local audience’s appreciation for artistic endeavours, he acknowledged the country’s impressive artistic legacy but suggested that somewhere along the way, a disconnect had occurred. Yet, he remains optimistic, noting the gradual improvement in the audience’s discernment. Manohansa envisions a future where proper art education and a nurturing environment can propel Sri Lanka to new heights, allowing it to contribute significantly to the global tapestry of art and create unforgettable moments in its history.