Artist of variegated forms
Edwin ARIYADASA
|
Upul Jayashantha
|
Young artist Upul Jayashanta appears in the public domain after
half-a-decade of creative respite. His immediately preceding solo
exhibition, titled ‘Arunalu’ (Twilight), took place in late August 2006,
winning critical and popular accolades.
His dexterous artistic creativity seemed to have achieved early
maturity even five years ago. One could not help but observe, that at
that time, his works proclaimed that the youthful artist had scaled an
impressive peak.
His current exhibition, which he has described as Nek Ru (Variegated
Forms), establishes his natural evolution from the time he held his
Arunalu five years ago.
His current works reflect his artistic pre-occupation with those
perennial aesthetic themes like ‘Love’, ‘Beauty’, ‘Music’, ‘Physical
Exuberance’, ‘Harmony’ and ‘Femininity.’ His special stylistic
inclination is to portray his themes in relation to rural life
situation.
His portrayal of a bay of folk-beauties, in the typical domestic
chore of pounding paddy and winnowing the rice, is an efficiently
composed painting, capturing the action of the group of young village
lasses, with an aesthetically elevated rhythm which communicates an
authenticity and actuality.
His aesthetic themes make it more or less inevitable, that he should
personify them through refined female forms. In consequence he has
painted alluring female forms in an extensive variety of moods and
postures.
In their refinement and in their flawless lines, these works proclaim
a classical purity engendering in the viewer a deep sense of
tranquility.
The Artist has delved into Indian aesthetics for some of his creative
inspirations. The young couple, intimately absorbed in each other’s
company, is quite clearly derived from the divine duo Radha and Krishna.
The flute-playing Krishna and his beloved Radha, while recalling the
universally reputed Hindu motif, tend to appear to be folk-figures as
well. The aesthetic influence of our sub-continental neighbour is
present in the kind of ornaments worn by the female figures. In some
instances, their dress and accessories are heavily Indian in detail.
Young Artist Upul Jayashantha, has evolved through a whole series of
significant stages. His early upbringing in a rural setting enabled him
to grow up in close affinity with nature.
His formal initiation into Art took place, when he studied under the
Internationally reputed Artist Jayasiri Semage. For four years the young
artist spent a fruitful apprenticeship under artist Guru Jayasiri Semage.
The Semage years enabled young Upul Jayashantha to imbibe traces of
his Guru’s vision and artistic practices. In consequences one can detect
echoes of the ‘Semage Style’, at least vestigial, in the works of Upul
Jayashantha.
The refined traceries of Artist Upul Jayashantha’s lines, are to a
great extent, the outcome of his profession-jewellery.
In his profession too, he has to focus with ultra concentration on
the refinements of the works, he turns out.
In art he is thoroughly conscious of the symmetry of his work. It is
quite essential to dwell, at least briefly, on artist Upul Jayashantha’s
appealing palette. His colour schemes are subdued and sober-even to the
extent of being ‘earthy’. But his colour deployments enhance the graphic
impact of his works.
The young artist is progressing unhesitatingly along a path that will
eventually ensure a sustained classicism to his art.
His classic gift is present quite vividly even in the works he
displays at this present exhibition.
I am fully confident, that as he continues, he will prove a youthful
but classical talent in the mainstream of Sri Lankan art.
His exhibition will be open at Lionel Wendt’s on September 2, at 5.30
pm with the participation of the distinguished gathering. The exhibition
will be open to the public on September 3 and 4 from 9 am to 5 pm. |
