NIHAL FERNANDO:

Paean to a Master Artist

by Lal Hegoda

The value of an artist is the value of what he bestows on humankind. What benefit can society expect from anyone who is poor in art?Praise and tokens of appreciations from society would bring pleasure to an artist, but he will not be disheartened by any absence of them. A true artist as befitting an ardent lover, would have abundance to give away with no desire of anything in return.

It is sincerely believed that this brief prologue might serve righteously in honouring the iconic Sri Lankan photographer, late Nihal Fernando. In fact we consider ourselves privileged, having offered this opportunity to write a few words about this phenomenal artist.

It is beyond question that his collection of work, portraying Sri Lanka’s environment, history, culture and community deserves the esteem of a priceless ‘National Resource’. I do assume that nowhere else in the world should there be such a rich collection of photographs in possession of a single artist. It amounts to a lifetime of constant heard work and commitment that should have been recognized and patronized by a government or an international organization such as UNESCO.

Owing much to the early technology of negative photography, Nihal Fernando’s collection of work is lavish with magnificent black and white and colour photographs. Their composition and colour combination always depict remarkable elegance.

I met Nihal Fernando for the first time 20 years ago, even though I had been acquainted with his work long before. He was examining some photographs from his collection when I presented him with a question that had been there in my mind for quite some time.

“Don’t you think you didn’t enjoy the full benefit of such a rich collection?

“Someone may enjoy it someday” was his humble answer.

He embraced his work as his soul satisfaction without any expectation, personal benefit or fame. His words touched my heart strongly.

At that moment I had in my hand one of his photographs; a wide landscape of a paddy field bordered by the beautiful Kothmale Oya, captured in an elevated angle. The meadow was so wide that part of it showed ripe golden paddy ready for harvesting, half mature yellow colour paddy and another terrace covered with lush green young paddy. Miniature shapes of farmers scattered here and there decorating the picture.

The inspiration that wrapped me with the sight of this picture was re-born as a poem at dawn next day.

A pauper
Climbs up the peek
Views the plain below
Grain grown green

Who planted the seeds?
Who is going to harvest?
One will plough the fields
Another will harvest the gain
Looks gold plated
But golden by birth

At this hour
Rainy flash is golden
Tears are also golden
Smudgy landscapes
Golden hued

A rainbow
Has been created
By the same goldsmith
At the edge of the plain
A shimmer over the dark water
Far away

And near
Water drops
On the flower petals
Tiny rainbows
In every drop

Unable to bare
That wonder
The Lord of the wealth
Descends down
Wiping the tears
In a gentle smile

He starts to work before the dawn, before the first sunbeam catches the ground. He is at his location when the first fresh ray of light touches the tip of the crown of trees. His first shooting session ends at 9.00 am (the time when some photographers start their work) his second shooting session starts at 4.00 pm and the camera remains in his hand till the nightfall.

An early morning drop of light, with its fugitive essences, paints a magnificent design on the SandakadaPahana (The Moon Stone). Nihal Fernando does not let this beauty fade off.

If SandakadaPahana is ever to be seen in its apex of beauty, one either has to be there right on that time, or one should simply have seen Nihal Fernando’s picture.

Nihal Fernando was a silent character, yet a ready listener. He would say one or two words about his photographs only when asked.

He captures the footprints of a solitary deer reaching slowly towards water on a new sand dune formed by the tide just the night before. Eligible to be recognised as a landmark in wild life photography, this image seems to portray the feelings of a thirsty deer.

Not one out of so many modern photographers fully equipped with digital gear could bring back such an excellent work of art.Sebastião Salgado, the greatest photographer of our era gets an invitation to address an audience in New York.

He exhibits his pictures, yet his speech was all about his country, environment and humanity. (His talk is available on Youtube). The reason for citing Sebastião Salgado here is simple, as our hero is of the same calibre.

Only a few are informed that Nihal Fernando was a champion in the Public Interest Litigation movement triggered by the Eppawala Phosphate mine. He has also published a guide book emphasising the value of bio-fertilizers including instructions to compose them.

Nihal Fernando’s capture of the first ray of sun arising, at the East edge of the mountain creating a wonderful painting of the tree tops at the West edge, inspires us to write the poem ‘The master artist of the East’

The Master Artist of the East
What a deceiver
Is this master artist
Never completing
This vast canvas
Leaving space
An excuse to come
Again and again

Is it a good thing to touch?
The tender green bodies
With your brush strokes
In shameless silence
They also accept

Every day he goes down
From the west
In order to grasp the view
Of the fleshy shapely hips
Behind the green lines

Hereafter please go
For your rest
Only from the East
Without betraying your taste