Photos courtesy of the Saskia Fernando Gallery
Prof. Chandraguptha Thenuwara’s annual memorial exhibition to commemorate Black July is showing at the Saskia Fernando gallery. Meta-Real serves as a link between past and present, providing a reflective examination of Sri Lanka’s socio-political evolution since the 1980s. The exhibition furthers Prof. Thenuwara’s exploration of the nation’s socio-political and cultural dynamics as it invites viewers to reflect on longstanding unresolved issues and their potential impact on the country’s democratic future.
“This year the artist’s memorial exhibitions coincide with a contentious period in the nation’s history, taking place in the months leading up to the presidential election. Recognising the importance of this moment, Thenuwara draws parallels between the ‘political dementia’ of today and the narratives that have emerged in the past during periods of political instability.
“In ‘Meta-Real’ Thenuwara reaches back in time to depict landscapes of destruction in the aftermath of the 1988-1989 ‘Beeshanaya’, inviting a contemplation into the trajectory of Sri Lankan history and drawing focus on the issues that continue to remain unresolved. The imagery of a cut-down tree, a blocked road, spread-out lifeless bodies and destroyed electricity wires exist within an atmosphere of stillness. Through an array of classical genres and mediums, including drawings, still-life paintings, figurative paintings and a sculptural object, Thenuwara offers perspective as well as commentary, encouraging the audience to reevaluate the narratives that govern our socio-political climate and be reminded of the weight of history,” a press release from the Saskia Fernando Gallery said.
In an interview with Groundviews, Prof. Thenuwara discusses the importance of the exhibition series and its themes.
When did this exhibition series first begin and what is its significance?
The exhibition series began in 1997 to commemorate the events of 1983. Its significance lies in addressing and remembering the traumatic events of 1983, ensuring that these memories remain alive despite attempts to forget or distort history.
Why was there a gap in the series from 1985 to 1987?
I was studying in Russia from 1985. Despite being away, I stayed informed about the situation back home. When I returned to Sri Lanka, I felt compelled to respond to the events of 1983 and the significant occurrences of 1988 and 1989. The series is a response to these historical and ongoing political events.
How do you link the events of 1983 and 1988-89 to your exhibition?
Both periods are marked by power struggles and the suppression of opposition. In 1983, we witnessed significant violence and unrest, which continued in 1988-89 with political conflicts. My exhibition addresses these themes to highlight the ongoing struggles and their impact on society.
What is the relation of the current political situation to the exhibition?
Last year marked the 40th anniversary of the 1983 events and this year we passed the 15th anniversary of the war’s end. With upcoming elections, political parties are making promises and telling false stories. Radical political movements are making offers for their benefit. My exhibition aims to address these manipulations and the need for genuine solutions. Despite addressing some issues, problems such as land disputes and militarisation persist. Military thinking remains and lands are not being released. Victory monuments are established without considering the residents, exacerbating wounds and worsening the situation. My work aims to highlight these issues and push for resolution. People continue to feel oppressed. My exhibition highlights the ongoing surveillance and oppression many still experience. By showcasing these themes, I hope to bring attention to the need for genuine resolution and healing in our society.
What about the recent stories of the disappeared and the lack of justice for them?
The recent stories highlight the ongoing lack of justice. Despite discussions, these individuals and their families have not received justice. My background, rooted in the events of 1983, 1988 and 1989, deeply influences my exhibition. These stories are part of the same struggle against exploitation and for power. There’s always a possibility of another outbreak of violence. The issues from 1983 were based on revenge and political turmoil. Today, post war, many disappearances remain.
How do you address the issue of reconciliation in your work?
Reconciliation is complex. It shouldn’t just be about Tamil and Sinhala reconciliation but should address reconciliation among all communities. We need to work together, respecting cultural differences, to build a society that heals and moves forward. My exhibition attempts to address these themes and provoke thought and discussion towards genuine reconciliation.
What are the main themes of your current exhibition?
The exhibition explores landscapes, figurative compositions and still life. Most works are landscapes reconstructed to reflect historical events. For example, one landscape depicts the chaos and destruction of 1988-89, with dead bodies, burning tires and destroyed infrastructure. These reconstructed landscapes look real but tell deeper stories of history and conflict.
How do you incorporate metaphysical elements into your landscapes?
I aim to create new realities through visual art, going beyond what we see to explore deeper truths. The term meta-real reflects this idea, drawing from metaphysics to look beyond physical reality. My landscapes might appear real but are constructed to evoke historical and emotional narratives. My landscapes often incorporate political colours and symbols, reflecting the political landscape of our country. For example, some landscapes use red and green to symbolise political affiliations and conflicts. By doing so, I aim to comment on the current political situation and the manipulation of political narratives.
How has your personal experience influenced your art?
My personal experience, particularly witnessing the events of 1983 and 1988-89, deeply influences my art. For instance, my work includes a piece inspired by the silence I was urged to maintain upon returning to Sri Lanka in 1989. This silence and the fear of speaking out are themes I explore in my art, aiming to recreate and reflect on these experiences.
How do you hope your audience will respond to your exhibition?
I hope my audience will engage deeply with the themes of my exhibition, reflecting on the historical and political narratives presented. I aim to provoke thought and discussion, encouraging viewers to consider the ongoing struggles and the need for genuine reconciliation and healing in our society. Through my art, I hope to bring awareness to these issues and inspire change.
What was your experience of the events of 1983?
On the day of the violence, I was 23 years old and working in town. As I walked from Galle Road to my aunt’s place in Wellawatte, I witnessed the destruction firsthand. I saw looting at places like Daniel’s Bookshop and fires where people used to buy coconut oil. The chaos was evident, with soldiers standing by without intervening and Buddhist monks asking for shops to be opened for looting. Curfew was announced after the looting had started and it was clear that the destruction was allowed to continue until six o’clock when they finally asked people to stop. At that time, I felt powerless and frustrated, knowing that the violence was not caused by local residents but by organised mobs with specific agendas.
How did the events of 1983 shape the broader context of conflict in Sri Lanka?
The events of 1983 were a precursor to a broader and more entrenched conflict. The violence marked the beginning of a period of extensive and organised violence, with numerous groups fighting each other. By 1983, there were about 33 different groups involved in the conflict, each contributing to the cycle of violence. This was compounded by political manipulation and the distribution of arms, which only fuelled further conflict.
Do you believe the continuation of your exhibitions contribute to a broader understanding of these historical events?
Yes, absolutely. My exhibitions are not just artistic expressions but also a form of historical documentation and reflection. They aim to shed light on the events and their implications, encouraging a broader understanding of the impact of these historical moments. By revisiting and representing these events through art, I hope to contribute to a collective memory and understanding of our past.
How did the concept of memorialisation come into your work?
The idea of memorialisation came naturally. During my overseas studies, we had subjects like composition where we created our own work. Sri Lanka always came to my mind. The memories of my homeland and the first hand experiences I had every day were deeply ingrained in me. I used to watch the news to learn the language and Sri Lanka was often in the headlines, either first or third, alongside other countries such as Lebanon. This constant exposure to the turmoil back home influenced my artistic vision.
Meta Real opens on July 23 and will run until August 13 at the Saskia Fernando Gallery
