'self portrait' 2004 ,collection -gallery Art Koner-Den Hague
http://webcache.googleusercontent.com/search?hl=en&q=cache:R8YmraUS69EJ:http://www.lakbimanews.lk/mag/mag2.htm+lakbima+news+sanjeewa&ct=clnk
ART WITHIN NATIONALISM
Pictures directly speaking to eyes, not mind
An exhibition of paintings by Sanjeewa Kumara will be held at the Gallery Cafe until January 5, 2011
By Rikaza Hassan
Sanjeewa Kumara prefers to refer to his oil on canvas works as “pictures” rather than the run of the mill paintings beause “they directly speak to the eyes and not the mind”. No wonder for they are really a vivid collection of objects. Take for instance the Tree of Life series where a vast collection of objects, material and natural, abound. Whatever your thoughts of them, you most certainly cannot call them dull.He calls his paintings “re-imaginings” — “It’s what I would have named them if at all.” Re-imaginings because post Independence “our art never developed to its potential, due to many factors, compared to Europe and now is the time to rediscover our own art, our own paintings.”“Art within nationalism” is how he puts it. For despite the efforts of the ‘43 Group, Lester James Peries, Martin Wickramasinghe and perhaps a few others, it never really gained ground. Now, with the war over, it is imperative that we begin the discourse on nationalism, opines Sanjeewa. “We’ve played with communism, liberalism, etc., and now we have to come up with our own thing.”
Our systems
Continues Sanjeewa, “Our systems - health, education, transport - worked for a while but are failing now because they are not suited to our culture. Our true culture has come down to us through the ages. We’re used to working hard for a season and resting the rest. The 9-5 continuous work schedule doesn’t suit us. That is why we have a systemic problem of people not working at work. Our culture has to be taken into account in rebuilding our country.”“We must develop our own technique,” adds Sanjeewa, a salient point that few really think about in terms of art culture. “... Like Chinese vases or Arabic calligraphy, so that it is immediately obvious where it came from.” It is but one of the many aspects of his craft that he is in the process of developing. A small matter for a man who believes revolutions within paintings are still a possibility ...Why did Sanjeewa become an artist? “There are many reasons. One, is because, this country needs artistes. Politicians and traders cannot develop a culture,” answered Sanjeewa.Painting also not only lets him express his views, and his politics but also presents him with the chance to read his subconscious. It is also the continuous exploration of his chosen craft -- the struggle to achieve perfection in his art. His own background, Lankan and South Asian art history, determining his identity (a questioning that began during his graduate years in the Netherlands) and his quest for as yet “undiscovered and unexploited dimensions in paintings” is what continues to fuel his work.
Uncanny personality oil on canvas 110 x 150 cm 2009
“Nations are made by artists and poets, not by traders and politicians. Art contains in itself the deepest principles of life, the truest guide to the greatest art - the art of living”..........
Ananda Coomaraswamy
i with i; Conversations with Sanjeewa Kumara is my self interview.
For how many years have you been a working artist?
Nearly 15 years
Which media do you prefer?
Painting.
In your lifetime what are the changes Sri Lankan visual art practice and what is you involvement for those changes?
In My childhood Night Rider, Rambo, Superman, Terminator type of TV and Film stories are my visual fantasy. When I recall 80s I remember few artist’s exhibitions such as Senaka Senanayake S.H Sarath, George Keyt, H.A Karanarathena at exhibiting the national art gallery and Lionel wented gallery. Most of the times their subjects are metaphysical narratives or placeless universal feeling. Just before entering the Institute of Aesthetic Art Institute I am participated 1 st Kalapola and ‘Young Contemporaries’ organized by George keyt foundation in the beginning of 1990s.That is my first interaction with Sir lankan art audience.
Mid 1990’s arose many new pluralistic visual approaches to Colombo centered art culture. Performance art, installation art, neo- expressionist paintings and other contemporary art practice is showed Heritage Gallery, 706 Barefoot Art Gallery, Paradise Road Gallery, and some other private art Galleries. End of 1990s ‘’X’’ Group publications, actives and ideas give significant help to continue these activities.
This environment I did serious paintings named 'Uncanny Personalities' some of them I showed my Solo exhibition in 1999 at Paradise Road Galleries Colombo. Afterwards I stay few years in the Netherlands. Living in Europe gives me new energy and changed the viewpoint of constructed ideas, specially ‘Who am I?’ And difference between a picture and a painting. Recent six, seven years in my works, mixing various with popular and unpopular historical elements combining them as visual pastiche, I tries to synchronize them into an own, unique visual language. I am preferred to name them ‘non-western western art’.
What are you exploring? What are you responding to?
My works for some years has been within the framework of a self-styled project.
That interest and observe the Sri Lanka-ness. However, my paintings do not exclusively portray exotic, primitive, decorative, modern or metaphysical narratives.
My paintings reveal the radical ambiguity of fantasy. In sort term my art is predominantly an art of surprises. The uncanny—the fantastic—the marvelous—the hesitation—the supernatural- the Uncertainty is very important to my work. The Language of my ‘pictures’ is where [y] our desire is placed.
I prefer to call my works ‘pictures’ rather than paintings. An abstract painting or abstract expressionistic painting is rarely a picture; an abstract painting is a painting because it dwells primarily on the material and surface. But ‘picture’ implies a space one goes into.
Are you truely aware and consious for your [art] work ?
I'd have to think a lot about that. I'd like to see art become so much more important, and by that I don't mean paintings or drawings, but just the art of everything.
1989 Berlin wall is broken, after few years later Soviet Union is collapsed. Also it is turning point world art and art criticism; in 1990s visual arts have become a global phenomenon. The notion of visual arts as “a peculiarly Western activity” is no longer the only acceptable standard. In today’s our global art world, artistic centers are not limited to certain Western capitals but are instead dispersed in a multiplicity of centers around the world.
Art critics in Europe/north America were largely unaware that new visual art practice could be produced outside the West. Because of that No serious art historian would have explored what was going on in the so-called “Third World “and countries like Sri-lanka. Artists from non-Western countries were shown only in ethnographic/anthropological /ethic museums or exhibitions. Irony is non-Western countries some artist/groups only busy with social and political issues because it fit with these anthropological museums agendas.
Take the example of Geoge keyt who also busy with cubism same time era with Picaaso and G. Braque. He had some connection with France and He was an important member of the historically important movement of modernism. So Why Geoge keyt works not exhibiting modern art museums in Europe/north America?
Many challenges facing postcolonial artists are the attempt both to resurrect their culture and to combat preconceptions about their culture. Edward Said, for example, uses the word Orientalism to describe the discourse about the East constructed by the West.
Art is also about thinking. I think the duty of art is to try to integrate all of these things. I just wanted to be free. But it is not easy for me.
What is your heritage, and how does it influence your work?
Sri Lanka is an island civilization with long, rich history. it is my heritage. Its pivotal position in the ancient Silk Road, that functioned as a cultural highway between the East and West. Mercantile and industrial capitalism times Sri Lanka is the Gateway to the South Asia.. For example Colombo was probably known to Roman, Arab, and Chinese traders more than 2,000 years ago. Muslims settled there in the 8th century and controlled much of the trade between Sinhalese kingdoms and the outside world. The Portuguese arrived in the 16th century and built a fort to protect their spice trade. The Dutch captured the city in the 17th century. The British made the city the capital of their crown colony of Ceylon in 1802.
So significantly, Colonialism and post-colonialism raises questions about how notions of 'self ' and 'identity' have undergone deep and permanent changes because of the complex impact of Imperial cultures on native civilizations.
I interested this hybridity it always influence to my work.
What have been important moments in your career?
Participating for the Triangle Artist Workshop in New York in 2004
How do you connect western art history with your work?
I don’t think I have a direct connection with a modern art history.
Anyway While Rembrant was commissioned to paint 'The Night Watch' Devaragampola Silwathenna, court painter for King Keerthi Sri Rajasingha at the Kandy in Sri Lanka developed a new style of Buddhist temple mural paintings.'' This new style started to take influence from foreign architecture and art as well as with the native art and culture. In Victorian times pictures of the Buddha, Queen Mary and King George was painted in a unified style and placed over the doorways of private homes on the south coast of Sri Lanka. These images are influenced to my work.
What do you think about today’s Colombo visual art culture?
I and many Sri Lankan contemporary artists not use to participate sri lankan cultural ministry art programs because of their narrow traditional views about the art.
Because of this reason In 90’s Former President Chandrika kumaranathuna regime gives opportunity to start some NGOs as a alternative.
In the beginning those anti-establishment organizations more open minded but after 2,3 years later I feel their transparency is not clear and all the time run by few people.
So I did not directly participate both [Government and NGO] art activities.
And last ten years my art mainly exhibit in the Paradise Road gallery or the Barefoot gallery because I feel they create more Independent Platform for the visual artists.
What you think about 90’s trend in visual art?
90’s Colombo centered pluralistic visual art activities referred as '90's trend' by Prof. Jagath Weerasinghe. This might be his personal interest and he is Counter signature person for some artists. I feel these ‘90’s trend artists are not critical about the modern Art and western philosophy. Mostly they imitate modern and post-modern art without thinking. And not give attention to the cultural landscape of sri lanka. In general I noticed '90's trend’ artist is in a constant struggle to catch up with whatever is happening in the West and whatever west interest.
Who and what is your biggest influence?
Non western artists and their’s nationalism are my biggest influence.
However some of Pre-Renaissance artists and artists like Pieter Brueghel are influenced to my works.
“Nations are made by artists and poets, not by traders and politicians. Art contains in itself the deepest principles of life, the truest guide to the greatest art - the art of living”..........
Ananda Coomaraswamy
i with i; Conversations with Sanjeewa Kumara is my self interview.
For how many years have you been a working artist?
Nearly 15 years
Which media do you prefer?
Painting.
In your lifetime what are the changes Sri Lankan visual art practice and what is you involvement for those changes?
In My childhood Night Rider, Rambo, Superman, Terminator type of TV and Film stories are my visual fantasy. When I recall 80s I remember few artist’s exhibitions such as Senaka Senanayake S.H Sarath, George Keyt, H.A Karanarathena at exhibiting the national art gallery and Lionel wented gallery. Most of the times their subjects are metaphysical narratives or placeless universal feeling. Just before entering the Institute of Aesthetic Art Institute I am participated 1 st Kalapola and ‘Young Contemporaries’ organized by George keyt foundation in the beginning of 1990s.That is my first interaction with Sir lankan art audience.
Mid 1990’s arose many new pluralistic visual approaches to Colombo centered art culture. Performance art, installation art, neo- expressionist paintings and other contemporary art practice is showed Heritage Gallery, 706 Barefoot Art Gallery, Paradise Road Gallery, and some other private art Galleries. End of 1990s ‘’X’’ Group publications, actives and ideas give significant help to continue these activities.
This environment I did serious paintings named 'Uncanny Personalities' some of them I showed my Solo exhibition in 1999 at Paradise Road Galleries Colombo. Afterwards I stay few years in the Netherlands. Living in Europe gives me new energy and changed the viewpoint of constructed ideas, specially ‘Who am I?’ And difference between a picture and a painting. Recent six, seven years in my works, mixing various with popular and unpopular historical elements combining them as visual pastiche, I tries to synchronize them into an own, unique visual language. I am preferred to name them ‘non-western western art’.
What are you exploring? What are you responding to?
My works for some years has been within the framework of a self-styled project.
That interest and observe the Sri Lanka-ness. However, my paintings do not exclusively portray exotic, primitive, decorative, modern or metaphysical narratives.
My paintings reveal the radical ambiguity of fantasy. In sort term my art is predominantly an art of surprises. The uncanny—the fantastic—the marvelous—the hesitation—the supernatural- the Uncertainty is very important to my work. The Language of my ‘pictures’ is where [y] our desire is placed.
I prefer to call my works ‘pictures’ rather than paintings. An abstract painting or abstract expressionistic painting is rarely a picture; an abstract painting is a painting because it dwells primarily on the material and surface. But ‘picture’ implies a space one goes into.
Are you truely aware and consious for your [art] work ?
I'd have to think a lot about that. I'd like to see art become so much more important, and by that I don't mean paintings or drawings, but just the art of everything.
1989 Berlin wall is broken, after few years later Soviet Union is collapsed. Also it is turning point world art and art criticism; in 1990s visual arts have become a global phenomenon. The notion of visual arts as “a peculiarly Western activity” is no longer the only acceptable standard. In today’s our global art world, artistic centers are not limited to certain Western capitals but are instead dispersed in a multiplicity of centers around the world.
Art critics in Europe/north America were largely unaware that new visual art practice could be produced outside the West. Because of that No serious art historian would have explored what was going on in the so-called “Third World “and countries like Sri-lanka. Artists from non-Western countries were shown only in ethnographic/anthropological /ethic museums or exhibitions. Irony is non-Western countries some artist/groups only busy with social and political issues because it fit with these anthropological museums agendas.
Take the example of Geoge keyt who also busy with cubism same time era with Picaaso and G. Braque. He had some connection with France and He was an important member of the historically important movement of modernism. So Why Geoge keyt works not exhibiting modern art museums in Europe/north America?
Many challenges facing postcolonial artists are the attempt both to resurrect their culture and to combat preconceptions about their culture. Edward Said, for example, uses the word Orientalism to describe the discourse about the East constructed by the West.
Art is also about thinking. I think the duty of art is to try to integrate all of these things. I just wanted to be free. But it is not easy for me.
What is your heritage, and how does it influence your work?
Sri Lanka is an island civilization with long, rich history. it is my heritage. Its pivotal position in the ancient Silk Road, that functioned as a cultural highway between the East and West. Mercantile and industrial capitalism times Sri Lanka is the Gateway to the South Asia.. For example Colombo was probably known to Roman, Arab, and Chinese traders more than 2,000 years ago. Muslims settled there in the 8th century and controlled much of the trade between Sinhalese kingdoms and the outside world. The Portuguese arrived in the 16th century and built a fort to protect their spice trade. The Dutch captured the city in the 17th century. The British made the city the capital of their crown colony of Ceylon in 1802.
So significantly, Colonialism and post-colonialism raises questions about how notions of 'self ' and 'identity' have undergone deep and permanent changes because of the complex impact of Imperial cultures on native civilizations.
I interested this hybridity it always influence to my work.
What have been important moments in your career?
Participating for the Triangle Artist Workshop in New York in 2004
How do you connect western art history with your work?
I don’t think I have a direct connection with a modern art history.
Anyway While Rembrant was commissioned to paint 'The Night Watch' Devaragampola Silwathenna, court painter for King Keerthi Sri Rajasingha at the Kandy in Sri Lanka developed a new style of Buddhist temple mural paintings.'' This new style started to take influence from foreign architecture and art as well as with the native art and culture. In Victorian times pictures of the Buddha, Queen Mary and King George was painted in a unified style and placed over the doorways of private homes on the south coast of Sri Lanka. These images are influenced to my work.
What do you think about today’s Colombo visual art culture?
I and many Sri Lankan contemporary artists not use to participate sri lankan cultural ministry art programs because of their narrow traditional views about the art.
Because of this reason In 90’s Former President Chandrika kumaranathuna regime gives opportunity to start some NGOs as a alternative.
In the beginning those anti-establishment organizations more open minded but after 2,3 years later I feel their transparency is not clear and all the time run by few people.
So I did not directly participate both [Government and NGO] art activities.
And last ten years my art mainly exhibit in the Paradise Road gallery or the Barefoot gallery because I feel they create more Independent Platform for the visual artists.
What you think about 90’s trend in visual art?
90’s Colombo centered pluralistic visual art activities referred as '90's trend' by Prof. Jagath Weerasinghe. This might be his personal interest and he is Counter signature person for some artists. I feel these ‘90’s trend artists are not critical about the modern Art and western philosophy. Mostly they imitate modern and post-modern art without thinking. And not give attention to the cultural landscape of sri lanka. In general I noticed '90's trend’ artist is in a constant struggle to catch up with whatever is happening in the West and whatever west interest.
Who and what is your biggest influence?
Non western artists and their’s nationalism are my biggest influence.
However some of Pre-Renaissance artists and artists like Pieter Brueghel are influenced to my works.
No comments:
Post a Comment