Inspiration is never far away
Marie Alles Fernando
The paintings, many of them large, fill the walls, alcoves and corridors making progress from the door, a somewhat distracted process for the visitor.
‘Young Bo’ – the oil on canvas that features on the invitation of her forthcoming ‘seasonal viewing’ on Saturday, December 7 catches the eye, small but arresting in its fine detail. And as she gives the Sunday Times a walk-through of these works most done in 2023/2024, Marie talks of how with her continuing interest in Buddhism, the Bo-tree often emerges in her paintings. A devout Roman Catholic herself, the serene stillness of meditation and the Buddhist way of life has figured prominently in her work throughout the years.
There are more of her signature lotus paintings, so reminiscent of the Monet water lilies series, but also many other recent works where hues of gold take on different moods in the changing light that streams in, from dawn till twilight.
Painting for the young Marie began at home with her artist mother Genevive Edirisinghe Alles and her first exhibition in 1972 was a joint one with her –“the only one we did together,” she says wistfully. She trained under renowned names such as landscape artist Ivor Baptiste and Prof. Douglas Amarasekera and in later years came under the guidance of that great portraitist and member of the ’43 Group, Harry Peiris whom she regarded as a ‘beacon of clarity’ who encouraged her to build on what she had learnt but create her own space – be true to herself.
Early travels to Europe and visits to art galleries gave her an enduring love for the French Impressionists. She went on to gain recognition with each passing year, with regular invitations to exhibit abroad and accolades accruing. Essentially home grown, she says she has always been drawn to capturing scenes from this land, the hill country, the villages, the markets and the people, her absorption with Sri Lanka’s people, landscapes and scenes, never waning. Her late husband Cyril Fernando being a planter meant they spent years on the estates and even now those sweeping mountain scenes, are themes she returns to.
A month-long trip to Rajasthan a decade ago would prove vastly inspiring. “My palette changed,” she says, and took on richer reds and orange yellows, inspired by the desert sights. The people, however poor, were dressed well, she marvels.
Why colour is such an integral part of her work is due to her mentors impressing on her that there wouldn’t be any beauty in life without colours. Sri Lankans have an innate love of colour, she notes and she has long hoped that there would be more patronage of the arts, even young people realising the joy of having more art in their homes. Patronage of art is important for talent to survive and thrive.
Recent work: Young Bo (the painting on the invitation) top, and the White Lotus at Water’s Edge. Pix by M.A. Pushpa Kumara
“You must have natural talent but the rest of it is sheer hard work. You have to be very strong to continue in this profession.”
If she doesn’t travel as frequently as before, her keen artist’s eye is always able to find inspiration. “The best guidance is my feelings and how you respond to what you see,” she says. Inspiration is never far away for her; the large painting behind her of white lotus blooms in a pond where even the littlest white flowers are painted in, was done after a visit to Water’s Edge. While this year’s exhibition ‘Visions of Sri Lanka’ is on invitation, next year, admirers of her work can look forward to a public exhibition at her favourite venue, the Lionel Wendt.
- Renuka Sadanandan
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