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‘Kintsugi’ portrays the art of transformation and resilience

‘Kintsugi’ portrays the art of transformation and resilience

23 Jan 2025 | By The Features Desk

  • Anoma Wijewardene’s exhibition closes on Sunday


In a world often defined by fragmentation and loss, the concept of restoration takes on profound significance. Anoma Wijewardene’s ‘Kintsugi’, on display at Cinnamon Life, Colombo until Sunday (26), is an eloquent meditation on this very theme, as it draws inspiration from the ancient Japanese practice of repairing broken pottery with gold lacquer.

The exhibition was first unveiled at the 58th Venice Biennale, and invites viewers to reconsider the nature of imperfection – not as a flaw, but as an opportunity for renewal. Through a harmonious fusion of visual art, poetry, and music, Wijewardene explores the delicate process of mending while offering up a powerful reflection on the resilience that can emerge from the act of repair.

At the core of ‘Kintsugi’ is an installation of laser-cut prints mounted on mirrored surfaces, where the fractured forms become a metaphor for the world itself – broken yet whole, fragmented yet unified. ‘Unity in diversity’ rings at every corner of the installation and it is as if the entire space is a ceramic held together by gold lacquer. The use of the gold to accentuate the cracks transforms what might be seen as a flaw into something beautiful, and perhaps even sacred. It is a reminder that the marks of past suffering should not be concealed and swept under the metaphorical rug, but that they should be embraced because they bear witness to a history that is still unfolding.

The collaborative nature of ‘Kintsugi’ speaks to the power of creative partnership that comes from the serendipitous union of ideas and individuals.

Romesh Gunesekera’s poetry, written in response to Wijewardene’s art, offers an intellectual extension to the themes of transformation that permeate the exhibit. In these poems, the Booker Prize shortlisted author dismantles and reconfigures the traditional form of the sonnet, expanding each line into a broader narrative that mirrors the act of reassembling broken pieces.

The poems do not merely describe the paintings; they engage with them, providing a new lens through which to view the fractured imagery. Gunesekera’s words evoke vivid scenes of destruction and renewal, capturing the essence of a world torn apart yet striving for cohesion. His process of breaking and rebuilding lines reflects the core philosophy of ‘Kintsugi’ – finding new meaning in what was once considered irreparable.

Adding another layer of depth to the exhibition is the composition by Oscar-nominated composer Sharon Smith. Her score weaves together diverse musical influences, reflecting the thematic journey from destruction to reconstruction. In conjunction with Gunesekera’s recitations, Smith’s music forms a soundscape that encapsulates the emotional resonance of the visual and literary components.

The synergy between these artistic mediums underscores the central message of ‘Kintsugi’: That the act of collaboration, of bringing disparate elements together, can give rise to something greater than the sum of its parts. Through this multi-sensory union of paintings, a video, a book and music, the exhibition exemplifies the potential for art to heal and to unify.

The exhibit stands as both a reflection and a call to action: A reminder that, rather than discarding the broken, we must take the time to repair, to rebuild, and to find beauty in the process. This idea of repair is not limited to art but extends to the larger world we inhabit, urging us to reconsider the value of the fractured and the damaged, while working towards healing and growing even in the face of overwhelming diversity.

The work suggests that brokenness is not an end, but a new beginning.

Anoma Wijewardene’s impact extends beyond this exhibition. A graduate of Central St. Martins College in London, she has exhibited her work in major cities around the world and has gained recognition at Sotheby’s Hong Kong. As the first spotlight artist at Cinnamon Life, Colombo, she continues to shape the landscape of contemporary Sri Lankan art, using her platform to engage with global conversations on the transformative power of unity and healing, the climate crisis, the environment, and on gender.




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