Mirror Magazine

Mirror Magazine

Strokes of confidence
By Thiruni Kelegama
In art circles, Paul Klee is most famously noted for his dictum that “art does not reproduce the visible, but makes visible.” These words seem infused with meaning, which can definitely be considered novel, in the case of the artist in question.

This artist’s work is certainly not simplistic… Deeply implied within this work is his credo, and this he knows. Life, emotions, animals, religion and even the traditions of Sri Lanka with its craft-oriented industry and the ancient mural traditions, all have their bearings on Amaresh Pereira. He juxtaposes light and dark shades, happiness and a deep sense of disillusionment, life, love and death – all to enhance his own style and personal technique.

A former Trinitian, Amaresh has devoted himself to art for as long as he can remember. And the paintings he will exhibit in his forthcoming exhibition bear witness to a deeply emotional, concentrated style that could be understood as the hallmark of his work. They are also the paintings of a young man with a clear vision; a young man for whom the brush has never been surer.

An artist, who is not only attentive to the medium, but also to the message, Amaresh prefers intention, yet more importantly leaves room for interpretation. He talks with shimmering colour, subdued fiery emotions, fields made up of transparent layers of intersecting and overlapping brush strokes. He also has a tendency to cluster colours and brushstrokes at the centre of the canvas, as if an image was attempting to coalesce and emerge. Therefore the canvases are meaningful, subtle, alluring and punctilious.

The result then ranges from the intellectually sharp and sensuously abundant to elegantly restrained work. The themes that Amaresh deals with in his paintings that are to be exhibited are those that may be said to mould the human condition. He deals with religion, morality, life and emotion. These beliefs are the basis of compositions like the painting of the Lankathilaka temple. “This is not only a temple,” he explains.

“The king who was responsible for its construction made sure that a devalé was also part of the temple.” The belief the painting seems to depict is the fact that all religions spring from the same well of righteousness, and that at the end of the day, to put it rather simply, they do come together. What is interesting about this painting is the fact that the artist has incorporated “Morning, Noon and Night” in the atmosphere of the composition. He is also deeply affected by the ethnic conflict in the country, as his stark depiction of Sri Lanka using a skeletal framework, with an anguished looking child seated in the centre, as well as the soldier looking into the far horizon, only to see a bomb exploding, testify.

However, Amaresh is not blind to the equally compelling themes of love and passion. Three remarkable paintings on show will simply reveal the undeniable power that the female holds over a male. The first reveals a female torso, and in the midst of it, he has placed a small minuscule male figure crouching. The next shows a male and a female captured in an embrace. Even this painting depicts this power, with a small figure crouched on a female breast. The climax of this theme would be the masterpiece: a stunning oil, resplendent with dark hues… this painting is of a male and a female torso connected through the shoulder bone. Through this composition, Amaresh certainly makes his final statement: first that the female holds undeniable power over a male, and secondly, that the female and the male will always be connected. And it is this spiritual connection, he has materialised.

His themes are never uniform; they are varied and not in the least closely connected. Ranging from paintings of his cats, devil dancers, cobras, Bharatha Natyam dancers (brilliantly incorporated in the composition titled ‘Eye Dancing’) to portraits, his work at this stage exhibits a conviction and a self-belief previously unseen in his creations. The painting of a pandol-bearer at the Kandy Perahera stands out. Adjacent to this very picture is a blue Perahera full moon. A notable feature of his work that has to be mentioned at this point is the use of dark colours, which gives his work depth as well as enhances his ability to focus on light within darkness.

A self-portrait climaxes the variety of compositions. Notable is the absence of dark oils in this painting, and the portrait reflects light and strength. Unconsciously, I am taken back to another self-portrait of the artist drawn many years ago: a melancholic visage lined with tracks of blood.

And then, I am reminded of the stark difference – the first self-portrait spoke of the trials and tribulations one has to go through to. It spoke of despair and anguish. This new portrait is indeed different. It radiates confidence.
Amaresh certainly has developed his talent against great odds.

His devotion to his true passion, he believes, has been truly tested. However the strength of character that he exhibits in this recent self-portrait and all his other paintings that are to be exhibited, is such that it can only be envied by many others.

It reveals the self-confidence of the artist and his belief in his niche; a self-confidence and belief that ought to inspire and motivate, whilst revealing him to be the unusual, intense and amazingly gifted person he is.
The exhibition will be held from July 14 – 28 at the Barefoot Gallery.

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