Calming textures
Shaanea’s paintings inspired by nature. Pix by Indika Handuwala
Tell me a little bit about yourself-Â did you always paint?
I was born and brought up here in Sri Lanka. I was educated at Ladies’ College and later went on to pursue a BA(Hons) in Fine Art at Lasalle College of the Arts Singapore. I had my first art classes at Cora Abraham’s school of art, and later as a teenager took classes in painting under Nadine David privately as well as under Shyamala Pinto Jayawardane at Ladies’ College. I took art as a subject for my London A’Levels, knowing quite well that whatever profession I would eventually pursue would be involving this creative aspect, having had a passion for painting as long as I can think back.
My mother is quite artistically inclined herself and her paintings on the walls of our home used to always captivate me as a child and I remember being very upset when she wouldn’t let me touch her canvas and expensive paints. She was probably my first artistic influence, and initial inspiration. I used to observe her paint, and sometimes accompany her when she visited art exhibitions and to Stanley Abeysinghe’s who she studied under, and had painted portraits of my brother and myself when we were much younger.
I never really realised I would pursue Fine Art at university level until the end of my foundation year when I had to choose my path between graphic design and Fine Art. I knew it was a risk, career wise, but having received a high distinction in my painting module, and encouragement from my lecturers, it boosted my confidence in pursuing it. I had initially always thought I would take up graphic design, keeping my options open career wise.
Shaanea Mendis de Silva
How did University help you as an artist?
I would definitely have continued to paint. I may have not pushed my boundaries and the level of exploration may have not been as exciting, had I not studied it however, it all depends on how much I would have exposed myself to other artists, reading about Art and researching further too.
Working in an environment with a lot of other artists, be it your peers or lecturers obviously contributes a great deal to the kind of artist you evolve into. Facing gruelling art criticisms, builds you up to defend your work, to talk about it, write about it, think about it. Question others work, question yourself about your work.
Finally the most frustrating realisation perhaps as a student in Uni, was that Art is indeed so subjective, the lecturer who gives you feed back today will be poles apart from the lecturer who sees your work tomorrow.
You learn to accept this fact and forge on.
What inspires you?
I think nature is my greatest inspiration. Sensory experiences in a most raw and natural form. Like the smell of the earth and the visual of earthy colours and tones from nature. The sound of a flowing body of water, like that of a river or the crashing waves of the sea. Combined, it is meditative & calming, and that I think comes out in my work.
For my cellscape series, the inspiration is born from textures we find in our natural environment and everyday surroundings.
I have a tendency to be drawn to intricacy, and details in Nature and marks left on surfaces through time. Repetitive structures too that I find meditational.
Who are your favourite artists?
Artists who work alongside and closely with the environment. Richard Long walked up and down a field until it wore away a path, in his work ‘a line made by walking’. This intrigued me and inspired me to explore unorthodox methods of drawing, which is when I started working with rust as a medium. I was also inspired by Chinese Artist Cai Guo-Qiang who uses gunpowder explosives.
Explain your process.. do you paint every day?
Give me a canvas, or a paper and a paint brush and I will paint or draw from almost anywhere. My best work I feel, comes out when I am working under pressure towards a project but with ample time to prepare for it, and then I will be painting everyday for months on end. I am a night owl, and I find that the best time for me to work is when the rest of the world sleeps and there is nothing to distract me.
When my husband was a ship’s engineer and I would sail with him, I would paint and draw everyday for hours with no distractions at all, as we wouldn’t touch land sometimes for weeks.
There are chunks of time where I don’t end up working at all, where life’s chores distract you, but these are also good breaks to step back and refresh yourself.
When I am working, I really have to switch off from everything else. Lately though, it’s been a balance with looking after my infant / newly turned toddler, but I think I have just proved to myself that this is still possible.