South Asian artist residency programme adds colour to KALA
In February, KALA, a platform devoted to presenting South Asian modern and contemporary art, will host its much awaited second edition.
This year’s edition holds special significance as it marks the 75th anniversary of the University of Visual and Performing Arts (UVPA), Colombo. The UVPA has been instrumental in forming Sri Lanka’s creative identity since its founding in 1893. J.D.A. Perera, Stanley Abeysinghe, David Paynter and Tissa Ranasinghe are among the early visionaries honoured
by KALA, whose work established the groundwork for Sri Lanka’s contemporary art movements.
In addition to its dynamic events, the University of Visual and Performing Arts hosts the South Asian artist residence programme KALA Commune, which invites regional artists to work collaboratively. The residency will culminate in an open studio and exhibition curated by Mandira Ranathunga, Assistant Lecturer in History & Theory of Art at UVPA from January 20 to February 10.
The open studio features artists from across South Asia, including Ahmed Rasel (Bangladesh), Chandra Bhattacharjee (India), Pankaj Panwar (India), Ahmed Javed (Pakistan), Seema Sharma Shah (Nepal), and
Sri Lankan artists Rinoshan Susiman and Hema Shironi.
The significance of the programme was underlined in the welcoming speech by Senior Lecturer and former Dean of the University of Visual and Performing Arts, Jagath Ravindra, who stated that it “marks the beginning of a new chapter in collaboration and creativity.” He also emphasised the
institution’s important contribution to Sri Lanka’s creative scene.
In addition to honouring the founding luminaries, the KALA event features modern voices. The project’s main goal, Ravindra underlined, was to encourage young artists and students from Sri Lanka and throughout South Asia to help start a new art movement. “Our students will contribute to the new art trend related to the world,” he said.
Pankaj Panwar, an acclaimed sculptor from India, reflected on his journey as a visual artist, saying, “I trained as a sculptor, but I consider myself a visual artist. Sculpture, for me, involves everything—painting, sculpting, drawing, working with space. It allows me to explore all my visual sensibilities.” Pankaj’s work encompasses a variety of media, such as sculpture, painting, installations and site-specific pieces, and he uses material that range from conventional clay and plaster to more modern materials like fibreglass and stainless steel.
Discussing the development of South Asian art, Pankaj emphasised the region’s colonial past and how it shaped creative methodologies. “Since we were a colony, our approach was often to look to the West for endorsement,” he said. “However, figures like Rabindranath Tagore and the Shantiniketan school encouraged us to develop our own model of art, rooted in indigenous traditions, which helped build confidence in our cultural heritage.” Pankaj emphasised that there should be a variety of options for art and that it’s critical for artists to be receptive to trying out different mediums and genres.
Rinoshan Susiman’s works address issues of identity, society, and selfhood. Rinoshan experienced a profound sense of isolation while growing up during the Sri Lankan conflict, which he depicts in his artwork. He reflects, “I was constantly questioning who I am in a world that feels disconnected, having lived through such turmoil.”
His time in a seminary deeply influenced his understanding of spirituality and self, marking the beginning of his artistic exploration. He recalls, “Living in the seminary was like being in a ‘frog in the well’ situation, spiritually confined, unable to see beyond my own perspective.” His use of the image of the frog in the well to represent spiritual imprisonment in When I was 16, (one of his artworks) reflects this feeling of constraint.
Another Lankan artist Hema Shironi draws inspiration from her personal history and socio-political experiences, particularly her grandmother’s stories of war and displacement. “Her lived experience, her travels and her family’s scattered lives became my inspiration,” she says. Her own journey, moving between regions like Kandy and Jaffna, shaped her identity, leading her to explore embroidery and miniaturization as a way to express herself with limited resources. Shironi’s art often invites viewers to engage with their own experiences. “My works are incomplete and can be completed by the viewers,” she notes, her use of accessible materials, such as fabric from her bed sheets and sarees, reflecting her resourcefulness in the face of scarcity.
Regarding the evolution of South Asian art, she says, “Art is changing. It’s not just about trained artists anymore. Anyone can add their voice.” She highlights the democratization of art through technology and public participation, noting, “Art is not just about painting or sculpting. It’s about expression, and anyone can contribute.”
Nepalese artist Seema Sharma Shah has dedicated her career to the intricate art of print-making, starting out as a freelance artist in 1991. “In this medium, it’s very interesting exploring colour,” she shares, adding that her process often involves the meticulous use of plates. A single larger plate can take her up to a month to complete, reflecting the precision and care integral to her craft.
Seema also emphasizes the experimental nature of print-making. “Print-making is already experimental work,” she explains. “The technique has become more developed, and I mix other plates, layering two or three to create unique effects.” Her approach highlights both the complexity of her art and how print-making continues to evolve, blending technical mastery with artistic experimentation.
Founder of the Saskia Fernando Gallery and KALA, Saskia Fernando, spoke on the value of the residency programme in fostering regional relations and giving young Sri Lankan artists access to global methods. “This residency format is something we were very keen to establish with KALA,” she said. “Each of the artists in the line-up brings a distinct practice—whether multimedia, print, sculpture, or other forms—which enables us to activate all the workspaces within the university and create a significant fusion of South Asian artistic practices.”
Emphasizing that this residency is an important milestone for Sri Lanka Saskia added, “We hope this residency will inspire more such initiatives and continue to offer opportunities for international collaboration.”
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