South Asia’s largest art platform has returned to Colombo, bringing together an eclectic mix of regional artists at the JDA Perera Gallery and the University of Visual and Performing Arts (UVPA). The KALĀ Commune showcases prominent South Asian artists, including Seema Sharma Shah, Hema Shironi, Ahmed Javed, and Susiman Rinoshan, while Pivot Glide Echo presents works by Sri Lankan greats such as David Paynter, Tissa Ranasinghe, Jagath Weerasinghe, and Chandraguptha Thenuwara.
As a nod to Sri Lanka’s oldest arts institution, the Sunday Observer headed to bourgeois Colombo 7 to see what creative minds had in store.
Art, Heritage and an eye on the future
The scent of putty and linoleum filled the air as I entered the gallery, where two volunteers pointed me in the right direction. “I’m from the Sunday Observer. Just looking for some content,” I told them before heading inside.
The Pivot Glide Echo exhibition featured a striking study by David Paynter, whose work I grew up admiring—his murals adorn the chapel of my alma mater in Kandy. Another highlight was an evocative portrait by the late, great JDA Perera himself. Thenuwara’s typewritten artwork, though conceptually engaging, eluded my immediate understanding.
Stepping outside to check if my videographer, Pramuka, had arrived, I unexpectedly bumped into Thenuwara. Hoping for a quick soundbite, I asked for an interview, but he was busy lecturing a class upstairs. As he walked away, I called out, “I liked your Ecce Homo piece at Cinnamon Life!”—a nod to his politically charged work.
When Pramuka arrived, we shot footage on the Sony, ensuring we got vertical shots for Instagram and some B-roll for context. After capturing slow-motion footage of the gallery signboard, we headed to the KALĀ Commune, where artists were actively engaging with visitors.
At Heywood Upstairs, multi-disciplinary Bengali artist Chandra Bhattacharjee demonstrated charcoal drawing, emphasising the importance of using sustainable, everyday materials. Visiting Sri Lanka for the first time, he shared his admiration for the island’s creative energy.
Meanwhile, at the Faculty, Nepali artist Seema Sharma Shah was immersed in a printmaking workshop, meticulously etching a design onto a metal plate. When asked about the survival of manual printmaking in the digital age, she offered a succinct but profound response: “The arts will always survive.” A valid point, considering the resurgence of analogue photography and vinyl records in an increasingly digital world.
Next, we hurried back to Heywood for Ahmed Javed’s class on Vasli paper and miniature painting. His students were engrossed in crafting intricate miniatures when we requested a demonstration. Rolling up his sleeves, Javed took dollops of glue and began treating the paper. “Vasli paper is made to absorb watercolour while the glue contains chemicals to prevent insect damage,” he said. Historically, miniature painting flourished under the Mughal rulers of India, who sought artistic documentation of royal life. Given Islam’s prohibition against life-like imagery, clerics found a loophole—the miniature style depicted subjects in profile and slightly exaggerated, ensuring they weren’t exact replications of real life.
Art in motion
KALĀ 2025 runs until February 25, featuring a robust itinerary of showcases and lectures by influential figures in the regional art scene, including Saskia Fernando, Muvindu Binoy, and Dominic Sansoni. With an impressive line-up and a fusion of traditional and contemporary art, this year’s edition promises to be a significant milestone for South Asia’s creative landscape.
For those seeking inspiration—or simply a glimpse into the evolving art scene—this is an event worth experiencing.
