Signature in brush strokes - Interview with Dr. Jayasiri Semage

Kalasuri Dr. Jayasiri Semage’s solo art exhibition, Chronicle of love will be held at Lionel Wendt Art Gallery from April 4 to 6. Paintings employing historical themes will be featured at the event. “These paintings were a challenge. I had to recreate the costumes and jewelry that were used in the times of kings, how they dressed, the environment and most of it are creations of my imagination,” said Semage. “I think this would be a great opportunity for Sri Lankan art lovers and school children to learn something about both art and history,” he added.

Semage has become an icon in the Sri Lankan art sphere with his unique style. Conquering the local and foreign art galleries he promoted his unique Sri Lankan painting styles and the country’s name simultaneously from 1956. Like Geoffrey Bawa or Solias Mendis, today, Semege too has become a landmark in the history of Sri Lankan art. He spoke to The Nation about his childhood, achievements and the upcoming art exhibition on this week’s ‘Notebook of an achiever’.

Semage was born in a small fishing village in Ambalangoda and received his education from Ambalangoda Dharmashoka Vidyalaya. He self-taught himself at the beginning, while at school. Later on, while still at school, he passed all examinations held by the Royal Academy School of Arts, London and became the first child artist to hold a solo painting exhibition at the Art Gallery in 1957. “MWL De Silva was the art master at school. Later there was a Mr. Silva, who was trained at Shanti Niketan India to teach us. His influence increased my interest in the painting style of Ajantha Caves in India and frescos in Sigiriya,” he recalled. Since then Semage has held a series of solo exhibitions in countries including Singapore, Thailand, Sweden, Switzerland, Finland and Oman. In 1990 he was awarded with the national honor Kalasuri by President Ranasinghe Premadasa and Kalabooshana award by the Ministry of Cultural affairs in 1999. Ceylon Society of Arts (Lanka Kala Sangamaya) honored him with a Doctorate in Arts in 2006.

“But with time I realized that it is more important to create a unique identity rather than imitating something,” he explained while adding how he built his identity in painting. After finishing his school education he joined the Lankadeepa editorial in pursuit of his dream of becoming an art journalist. Later he became the Chief Artist of the now defunct Davasa group of newspapers. Up to this date, he contributes to many newspapers as a freelance art journalist.

He was a key person in President Premadasa’s Gam Udawa program. He created the pandal in at the entrance of the Gam Udawa site, which became an identity of the program. He contributed to the program as the main artist from 1982 to 1992. The jumbo Buddhist pandal he created at the entrance to Asia Pacific Exhibition, Fukuoka, Japan in 1989 still tops the list among his great achievements. He also mentioned his painting which was selected for permanent display at the United Nations Hall in Geneva, Switzerland in 2006.

In 1995 Kalasuri Semage held his first international exhibition in Kuala Lumpur Malaysia, on an invitation by the Lanka Kala Sangamaya. According to him this exhibition resulted in an invitation to paint murals at the Buddhist Vihara in Malaysia and Mangala Vihara in Singapore. He considers the murals in the Sri Maha Bodhirama Purana Vihara in Divulapitiya, Borelasgamuwa as one of his gifts to the country. “I remembered Geoffrey Bawa and Solias Mendis and what they gifted to the country. I thought of doing something similar and the Divulapitiya Purana Viharaya was the ideal place for it,” he iterated.

Semage has published three books to date. His first art collection Ridma Rekha, a book on traditional decorative motifs in Sri Lanka was published in 1996. Chithra Lekha, a collection of line drawings was published this year. Prof Bandara reviewing his paintings once wrote that Semage’s art could be identified as his, even without his signature on the painting. He said that the unique characteristics of his paintings had created a strong identity than his signature. His paintings had the distinct Sri Lankan flavor with Liyavel and Hansa Puttuwa and if examined closely, curves and brush lines will help one to recognize the rhythm of his painting.

“I give prominence to the rhythm, topics, color schemes and beauty. I never draw violent things like blood or murders. My art should be peaceful and beautiful, something that gives pleasure to others,” he iterated. “Who would want to buy violent art and hang it somewhere where they see them all the time?” he queried. Most of his paintings illustrate human beings. Animals or landscapes are rare. When asked why, he said that he didn’t want to paint landscapes or sceneries since most of the artists do this. “I see the beauty in human beings, therefore I choose to draw them,” he said.

He expressed his grief about the inadequate facilities of the country for artists. “There are only few private galleries here. Not everyone can afford to have a his or her own private gallery. There are no good galleries for exhibitions. There is only one in Colombo and none outside. It’s a shameful situation which the government should look into,” he pointed out. “I’ve been to many galleries around the world. I was surprised to see the enthusiasm to appreciate art displayed by people in many foreign countries. But I don’t see this enthusiasm in Sri Lankan public,” he added. He emphasized that there should be at least one art gallery in prominent towns like Kandy or Galle outside Colombo and pointed out that this would also help the artists to promote and preserve their paintings.