Brushing on the complex canvas of life

Myriad portrayal of pangs and politics of emotions:

Love is a theme with a universal appeal. When it is depicted on a piece of canvas by brush strokes of master painter like S. H. Sarath, the paintings will soon exchange their ownership from their creator to art lovers around the globe.

This is exactly what happened to H.S Sarath’s series of paintings titled ‘lovers’. Fifty of the paintings of the series which he created in 1950’s ended up in the hands of foreign art lovers in diverse parts of the globe while the rest ended up in the treasured collections of local artists.

S. H. Sarath, is of the view that Sri Lankans have special appeal for love, kindness because society has become cruel and uncouth. Over the years, he has learnt to portray love using diverse techniques.

Sarath has also included ten paintings on the theme of love in the battery of paintings that he will exhibit at UN Head Quarters in Geneva on the July 21, 2008. Love and nature are among the favourite themes that have universal appeal.

Over the years Sarath has evolved his own signature in abstract paintings and unlike in 1960s as amateur artist, Sarath now takes very little time to finish a drawing. With the dexterity of an experienced surgeon who performs a surgery on a patient, Sarath puts his brush on to the canvas, and then as if he is in a trance, he completes his painting, laying one colour upon another and in absolute silence, switching off phones.

At these times, he seems to be totally engrossed in his labour of pleasure like a meditating monk, yielding himself to the dictates of the brush.

Sarath sates a work done in such manner will be a successful painting. He believes that an isolated environment is essential for an artist to concentrate on his work.

Like in a language, painting also has a grammar; light and dark, close and distance and painting has a message embedded in the texture. This message is conveyed through the texture. For instance, when artist walks along a path, he or she observes the details with keen interest, looking for different texture in ordinary objects such trees and pebbles.

For instance, Sarath’s picture on love and sex is a fine example of his understanding of different postures and reddish shades on white skin, shows the sex flush. Artist is one who understands the reality impermanency of life and all plants are nourished and emerged from the earth and they should also go back to it.

Degree of the depth of a work of art reflects the maturity of the artist.

Sarath is of the opinion that artist also should be sensitive to war. Artist looks at war with a humane eye and registers his opposition in terms of work of art. Some times, Artist uses the brush as sward or a sharp-edged dagger that goes into very soul of the people.

One painting which drew my attention was a painting of chairs and crabs sitting on chairs. The painting depicts corrupt bureaucracy in the form of crabs.

Another abstract painting depicts that people are irreligious, consume liquor like devils, some are locked up while others greedily gulping food sitting on toilets and engage in wrongful sex. Though the painting drawn in 1980, it is still relevant.

Another, depicts environment pollution where gods have to carry mosquito nets and God Ganesh becomes thinner as he is unable to partake in fruits contaminated with pesticides and preservatives. Here Sarath portrays environment pollution in abstract. It is the men and women who have polluted the beautiful island.

Criticizing the societal attitudes on artists, Sarath states Sri Lankans still entertain the notion that an artist should be poor and should lead a hand -to-mouth existence whereas in Europe art is a highly paid profession and a work of art is sold at millions of dollars.

The rationale for this shabby treatment to artists meted out here seems to be the tribal mindset which looks down on painting as a third class profession.

Those people wear European tie and coat, underneath the European attire is the barbarian who still entertains feudal obsolete values such as cast, creed and nationality.

S. H. Sarath stressed the fact that even a provincial councillor would not be able to appreciate a painting, simply because he has not seen any painting other than those on pandals and temple paintings. He believes Parliament should posses a permanent art gallery and municipal councils and local government bodies should also have their own art galleries.

Then at least, these provincial councillors and MPs can watch a painting hung on the wall of a conference hall. H.S Sarath states very few members in the present parliament can appreciate art. In Sri Lanka only a highly educated person such as a professor can appreciate a work of art and system of education should be blamed for it.

Sarath pointed out that in developed countries, the students who study science subjects are also asked to write on an artist so that they might take an interest in art and culture. However, in Sri Lanka subjects have been so divided that only the students of the University of Visual and Performing Art study aesthetic subjects.

H.S Sarath is of the opinion that financial institutions such as Banks are reluctant to invest in art and it is extremely difficult for an artist to obtain a loan from a bank. Even a shopkeeper may get a loan but not an artist.

No person will sponsor art. Artists are virtually left to themselves.

He stressed the fact more and more art galleries should be set up in diverse parts of the county and artists with specific areas of interest should form into groups and set up galleries for their areas of specification. Sri Lankan artists, however, are not in a position to set up art galleries of their own owing to economic situation.

However, in developed countries Artists are well-protected by social security schemes. H.S Sarath who is also a member of Art Council accused the officials of not attending exhibitions organised by artists. Sarath offers a sum of Rs 1000 as travel allowance for those officials at Art Council if they visit Sarath’s exhibition of paintings.

Referring to vast strides that an Artist made in other countries in the region, H.S Sarath pointed out that in Thailand artists are among the richest with even properties in Europe. However, what is needed here in Sri Lanka is to commence industries where Artists can engage in.

For instance, sculpture can be revived as an industry and artists should be consulted at every stage of construction and re-construction of cities so that they may be beautiful living spaces. Sarath emphasised the fact that the future of Art is by and large, determined on the development of the country.