Chandragupta Thenuwara
Sri Lanka
I’m a trained artist in the study of human figures. Now I see these corrupted, polluted human figures. I may get the chance to revisit the beauty of human figures only if we could change the socio-political context into more democratic and fair means.
Bio
Born in 1960 in Southern Sri Lanka, Thenuwara is an artist cum activist whose entire body of work is a visual political commentary of the island. His iconic works explore how barrels became a part of the landscape, how ‘national security’ created check-points, roadblocks and barricades, and how they became a day-to-day ritual. He introduces his work in three specific phases: Barrelism (1997-2006), Neo-Barrelism (2007-2009), and Post-Barrelism (2009-2014). All phases correspond to the three decades of the ethnic war.
Featured here are works from the two earlier phases of Barrelism and Neo-Barrelism, produced before the end of the war in 2009. He revisits the theme later on in 2017 – 2019 through a series of miniature brass casts.
Full Artist Statement
“I’m a trained artist in the study of human figures. Now I see these corrupted, polluted human figures. I may get the chance to revisit the beauty of human figures only if we could change the socio-political context into more democratic and fair means.
What is happening around us? Soon after the end of the nearly three decades long war, instead of establishing a peace building process by returning occupied land and removing military camps, there are individuals and groups looking for a new enemy. The June 2014 riots in Dharga Town were a clear incident of this attempt. It reminded me of the 1983 Black July.”
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