Remnants

Top: Gadaladeniya Temple, Kandy, SL, 2003Bottom: Tivanka Image House, Polonnaruwa, SL, 2003

Doorways

Top to bottom: Neemrana Fort, Rajasthan, India, 2005; Kataragama Shrine,

Kandy, Sri Lanka, 2003; Tokyo University, Tokyo, Japan, 2010.

ඉලාස්ටික් ඇඳුම - Elastic Dress

රක්ත වර්ණයෙන්
දැවටී ගනිමින්
ඔබ ගතේ,
ගලා යන නදියක් මෙන්
සැම තැන සරනා
ප‍්‍රකෘතිප‍්‍රාපක
ඔය හැඳිවත
කුමක්ද?


ඇඳුමක්ද?
කලාකෘතියක්ද?
සංකේතයක්ද?
අදහසක්ද?
මේ සැමද?

18 දෙසැම්බර් 2010

‘ඉලාස්ටික් ඇඳුම’ (චායා අභිවහනය), සංකල්පකරණය හා අභිවහණය: අනෝලි පෙරේරා
'Elastic Dress' (Photo Performance), Conceptualization and performance: Anoli Perera

Photo: Sirmal Silva; Makeup: Dilki Perera

The Body Shadowed

Yours is not a body
where sensuousness is enshrined.
Its curves, desires have become
mere relics of a bygone past,
a forgotten memory,
faded images on a wall
where intense gazes no longer fall.
You are in a shadow
devoid of existence
beyond yourself.
It’s a zone
marked by the passage of time
and the ravages of bygone moments;
it’s a comfort zone
that nurtured generations
made uncomfortable
in the present
and by the future.
Lost to the
memory of the world,
you exist
only in your own memory
and in the shadows of time.

November 2010, Tokyo

‘Measured, Stitched and Stretched’ (Painting, 2010) / ’Silent Grievers’ (Installation, 2007).  Artwork and image: Anoli Perera, 2010.

Spirits of the Departed

These little statues are known as Mizuko Jizo at the Zoojou-jin Buddhist temple in Tokyo; an influential site of religion and politics at its peak, the temple was a site of Tokugawawa power and resting place for some of its main characters. Each statue is supposed to represent a dead child as far as I could understand and thereby linking the temple very clearly with death and memory of the dead.

 

Contemplation

නිදහස - Freedom

Freedom to soar; freedom to think; freedom to imagine; freedom to just be; reality or dream?

පියාසර කිරීමට, සිතීමට, පරිකල්පනයට, පැවැත්මට  තිබෙන නිදහස යතාර්ථයක්ද සිහිනයක්ද?

Urban Fragments Out of Context

Photographs of different aspects of urban space like any conventional landscape painting can be structured in context; with a clear background, foreground, subjects of attention in their designated places, and therefore with no contradictions or confusions. What if elements in urban space are captured as fragments with no clear linkages to an overall structure that might give them conventional meaning? Would they be confusing or simply narrate a different kind of story, leaving room for interpretation?



සරසවිය

බුද්ධිය වී ඇත අදිසි යථාවක්,
මායාවක්,
මිරිගුවක්
සරසවියේ.
යෙදුනද සම්භාෂනයේ
ඇඳුරන් මහැඳුරන් නාමමාති‍්‍රක,
ඝෝෂාවක් මිස
නැත එහි ප‍්‍රඥාවක්.
ඇත්තේ නිසරු බිමකි
දැනුමට තෝතැන්නක්
විය යුතු තැන,
නොලැබෙන කිසිිදින
බුද්ධියේ ආලෝ්කය,
ප‍්‍රඥාවේ සිසිලස.

කොළඔ, 11 දෙසැම්බර් 2010

(ශ්‍රී) පතුල

පතුලකි ශ්‍රී;
ලැබිය යුතුද
බුහුමන්?

The Pillar

Contrext/Out of Context and Photography

The exhibition ‘Sensing Nature’, subtitled “rethinking the Japanese perception of nature” held at the Mori Art Museum (July 24-November 07, 2010) is a collection of installations and video works by three artists: Yoshioka Tokujin, Shinoda Taro and Kuribayashi Takashi. Though not a conceptually challenging or radical exhibition by any means, it does offer certain elements of the spectacle, particularly the larger installations as well as a glimpse of the work of technology and mechanization in the production of art. I wondered if the installations could be captured as images out of context, selected details of the larger work, and in the process whether they could ‘seem’ like artworks of a particular kind that used color, shadows and light.

Sky, Sea and Trees

A9 in the Rain

The main road the Jaffna, the A9 trunk road was seriously damaged in some sections due to heavy fighting which ended last year. What is left continues to be affected by heavy rain at the moment. Though the road is not suitable for travel in many areas, such as near Elephant Pass, Chavakachcheri etc. people use it under the worst possible climatic conditions simply because there is no other choice. But large billboards that sell everything from Dialog telephone services to wall paints are on either side of the road beckoning the people to have a taste of capitalism; other blank bill boards invite companies to use their surfaces. Irrespective of the condition of the road and the vagaries of the life of people, local and global capital seem to have made their presence felt all the way to Jaffna.