• Aruni Wijegunawardene on creating and teaching art

A work of art may be appreciated solely for its aesthetic value by someone who lacks understanding or knowledge of the subject, and while art does play a crucial role in enhancing or adding value to a space, the skill and creativity that goes into creating a work of art can sometimes go unappreciated. However, artist and art teacher Aruni Wijegunawardene reminds us that buying a piece of art is not merely the purchase of an object, but extends to a purchase of the artist’s heart, soul, and life. “When you buy a piece of art from an artist, you are buying hundreds of hours of failures and experimentation. You’re buying weeks and months of pure joy and frustration,” she said, explaining why a better understanding of art and the skill it requires can change the way we approach and appreciate the creative arts.

Following are excerpts from the interview:

Tell us about what drew you to art.

This was all I knew. From acting to playing basketball, singing in the choir to painting in the art room, I surrounded myself with what made me happy. I hated the mundane chores if it meant sitting in class and listening to teachers reading off textbooks. I used to sketch the teachers on those sketchbooks – small caricatures which reflected how they appeared to me.

I lived through the time of the Insurrection and the civil conflict. All my friends were from different ethnicities, but one day when we all got out of school, I saw how they were asked to speak Sinhalese to validate this race. The country would be in turmoil one minute and then the next peaceful. News flashes of bomb blasts and houses burning were constant. Yet, we lived through all that because there was no social media to convey how massive it was.

We endured what we personally experienced. And in my mind, this was the norm. I would draw though, continuously. So morbid were the paintings, many were thick dark clouds or dark alleys and tombstones in burial grounds. My father, being the wise man that he was, would hang them up and proudly say: “Macbeth. My favourite!” He never addressed the meaning behind it, probably thinking I had expressed the trauma and so there was no need to talk about it.

I was the most radical in my family, probably because I wanted to change what was and be different. Thankfully, I had brilliant parents who encouraged me to follow my ambitions and also express them visually. I was enrolled at Cora Abraham Art Classes at a very young age. I loved it!

Nalini Weerasinghe was my mentor. She encouraged me too. Perhaps seeing how interested I was in the craft, she guided me to learn everything she was able to expose me to – from pottery, glass painting, ceramics, landscaping, and interior design to sustainable architecture – having live models to sketch and encouraging me to study art history. To date, I apply this knowledge in my teaching. She nudged me in the right direction, never with rules, judgements, or expectations. I was able to experiment and express myself using any medium of my choice, and I explored them all!

How did you start teaching the subject?

While I was still enrolled as a student in my later years, she encouraged me to do a teacher training course with her. Upon her passing, I wanted to share her positive advice with others and started teaching at Cora Abraham and later at Ladies’ College. I wanted to make a positive change, inspire, and care about people. Teaching was not a career choice; I was painting by this time and had built up a small portfolio of paintings.

The lot older at the art school had displayed their work, had solo exhibitions, and made names for themselves. I had two very young children and focused on seeing them have a healthy upbringing. I was 24! But when the girls were older, I agreed to teach at Elizabeth Moir Senior School temporarily till they found someone permanent. They instructed me to teach International General Certificate of Secondary Education (IGCSE) and International Advanced Level (IAL) students and I didn’t want to take that responsibility as I didn’t have any formal training.

Not only did these exams expect to see skilled pieces, but they also wanted students to do analytical studies of every subject matter. I realised my own set of skills will only take me to a point so I had to teach myself how to paint. The school persuaded me to take up the challenge and dared me to go for workshops and training. I don’t think I had ever studied what was expected of students and the technical side to it all. I needed to know more than my basic skills and how to apply them and be creative.

The more I practised the better I got and I thought it embarrassing if a student would want to know how something should be attempted and I would not know how to direct them. I needed to be better than ever. I would always start by saying that although this was how I attempt a piece, they needed to figure out how they wanted to express their own work identifying their own technique. How I enjoy watching them find themselves!

I discovered my own potential at this time. I realised the more I focused, the more I was able to draw realistic pieces, which felt extremely good. I discovered that I rose to a challenge if someone told me it was difficult to achieve. Having studied this subject, I realised I had developed to the point of achieving something close to hyperrealism. Hyperrealism is not attempted by many, as it’s easier to draw a subtle figure or face than trying to achieve detail.

Can you tell us more about your experience teaching students?

Students sitting for British exams are expected to construct portfolios and storyboards. They choose a topic to work on and have to elaborate this using many media. Most don’t know what to do as they prefer and find it easier to work with direction. I ask them to identify their likes and dislikes and capture what they want changed in the world or within their own space. This is most often expressed very visually, using this as a pedestal to voice their innermost feelings. They address wanting a cleaner environment, protecting animals, being bullied, and mostly, wanting to be accepted. They don’t want to be judged or for adults to have many expectations. They want a safe space from feeling overwhelmed.

Most often these children are told to stay off their phones or laptops and study. But I feel if parents monitor the content they read, they can learn so much from it. We as adults wouldn’t depend on devices as much because we didn’t grow up with them. They have, so it’s not fair for us to see it from our perspective alone. Most use this as an escape to zone out of reality. They are being told they are procrastinating but they do so only as a survival mechanism.

My own experience of school was to turn to page x and read without reason or encouragement. It was about the grades back then and it’s still about the same thing. Parents should remember how depressed we were back then; without motivation we were not able to function. At the international schools I teach, I see how they try to stimulate the minds of students, engaging with them to love learning. Once you love something, it’s a home run. Stimulate a young mind to appreciate their own abilities and they want to absorb more.

This is my firm belief and my mantra: love what you do and it won’t be like a chore. Anyone who enjoys their work is a success in my mind. You can be delivering bread or a street vendor, if you enjoy the work, you are content. Shouldn’t that be our ultimate goal? To enjoy life. I love being surrounded by kids who have energy and are unafraid to try. They take me back to how I was.

Parents discourage children from choosing art thinking it is a soft subject, but they don’t realise being creative is applied to our everyday life. They learn to think beyond what is in front of them and develop many skills that they can apply to so many other things.

How did you develop your own skill alongside teaching?

Most students blow my mind with their level of technical ability and skill. I encourage them all to explore and experiment mixing media to create pieces which display both skill and creativity. Over the years, I have experienced much joy in introducing ways to achieve unique perspectives in my pieces. I am driven by achieving skilled pieces that merge mixed media and transparency.

I want my viewers to engage with my work and appreciate the thought and time that has gone towards creating it. Art is not meant to match your curtains; it’s meant to speak to your soul. When you buy a piece of art from an artist, you are buying hundreds of hours of failures and experimentation. You’re buying weeks and months of pure joy and frustration. You’re not just buying a thing, you are buying a piece of heart, part of a soul, and a small piece of someone else’s life.

People look at my work and, not to brag, but take a second look to see if it’s a photograph. This is when I’m super chuffed. I’m happy it’s seen and appreciated. Some don’t – I get that too. It’s subjective and I don’t do it to please everyone. But most artists find it hard to receive a critical evaluation; I myself feel the pinch occasionally. But I know I don’t need to feel offended because everyone is entitled to their preference.

I have a diverse selection of work. I draw what I feel, when I feel like it, with no inhibitions. To achieve realism requires very specific skills that many artists take years to develop. They say realism rejects imagination in favour of a close observation of outward appearances, but if you have an educated mind to merge both creativity and skill, you can achieve style and technical development.

How does one navigate art as a profession?

I feel you shouldn’t paint to sell your work. Make your mark and one day, it will be recognised to have made an impact during your time. True enough, you have to make a living, so there is no harm in taking commissions. That can be your side hustle. You are not cheapening your work by doing so. If you are able to earn some money out of it, fair enough. Do it. That’s how you survive. But your real work should make an imprint long after you’re dead and gone, like the likes of Caravaggio or Rembrandt. They will live forever.

Do you think the perception that you shouldn’t sell your art discourages artists?

I don’t think so, because everyone wants to be an artist so they can make money. I doubt anyone is discouraged. If you make connections in the process, that’s even better. In my experience, the more you advertise yourself, the more people know of your work, which is why many use social media as their platform to promote themselves. Good or bad, when people see things repeatedly they get the sense that that person has made it. And then people invest in it. This is from a business perspective. An artist needs to know which side of the fence they want to be seen in.

Do you see the situation changing anytime soon regarding skilled pieces not getting due recognition?

I hope it does. People need to recognise and value the hard work and creativity that has gone into work and not be seen as too visual or not creative enough. I encourage everyone to appreciate the thought process, intentions, and execution of a piece whilst it is skilled. Mixing media and skill is an incredible talent; we need to encourage more artists who have the ability to do this.

Are there adequate spaces for artists to showcase their work?

The Lionel Wendt, National Art Gallery, and JDA Perera Gallery are the three main galleries we have and are used when one wants to exhibit their work. There are others which only display work by artists they represent. You can also hire a space in a hotel lobby, which will cost you an arm and a leg. But recently a new concept of showcasing Sri Lankan artists has emerged on top of Park Road, called Curado Art Space, which is fantastic! I’m sure there are others that I’m not aware of but I feel it is vital to have a space for artists in this country without them having to wait for Kala Pola to happen once a year.

What changes do you hope to see in the art world?

I want more people to understand and identify what draws them towards an artwork instead of being influenced by others who create and concoct a story to influence them to purchase a piece. But not everyone has the strength to resist a fabricated story. I hope this will enable others like me to share their experiences, inspire others to make a positive change towards developing their work, and be recognised and worthy.

PHOTOS Eshan Dasanayaka