I like to spell out briefly about the contemporary visual Arts movements in SL and the internal and external factors that gave birth to these movements, before I talk about my own visual Arts creations. At present Sri Lankan field of visual Arts is making good progress in its regional ideas and concepts that is making progress in the south Asian region I am confident that the background internal discourse in my painting would provide an opportunity to understand this.
Sri Lanka, which was a British colony, has been an independent small country in South Asia for about 5 decades. It shows accelerated tendencies towards industrialisation and a new urban culture. Our society is undergoing a fast transformation and so there is a new interesting social planning and along with it a creation of new problems as well. Under this situation amidst economic and political complexities there is a considerable revival and an explosion in the fields of contemporary paintings and sculpture of Sri Lankan visual Artists that displays in a way, poly-styles and poly-features. Because of this, poly features in the inherent social environment of the creation of contemporary paintings and sculpture is facing complex and critical situation. My personal view is that in order to understand the complex and critical situation first it is necessary to understand the inherent social economic political environment behind it and thoughts and concepts in the contemporary Sri Lankan field of visual Arts.

Since the 90s, a true change in the Visual Arts in Sri Lanka can be seen. A new generation of Artists who have moved away from the principles and theories of modernist expressionist fine arts to a new ideological path. A change took place in these artists in the full independent period from the urban high class to the lower middle class and rural background. In other words it can be understood as general democratisation of fine arts. Further free trade and economy of 1977, was an expansion of fans of fine arts, which include the rich classes, which acquired wealth recently. These fans are rich and they have spending power because they have acquired new capital through business and services. On this background of urban semi-urban and rural middle class, experiences have been generated in them hopes that have been the result of social and political conflicts on the pains sufferings and complexities that engendered new language of paintings and sculpture. The organic factor behind this is the river of blood that flowed across our society as a result of racialism and party-politics. They lost the confidence built on law and human rights. Our society, which had a long-standing Buddhist culture, was shocked by this calamity. At a moment like this when all philosophies developed up to now have lost their values, a situation has arisen where any fine arts cannot disclaim, The responsibility from its conscience, therefore the metaphysical foundation of the Sri Lankan modernist paintings and sculptures that existed up to now was critically examined. This post situation is the present condition.

On this background my paintings and sculptures try to express the emotions resulted from the political and social conflicts and multiplicity of sufferings, problems and satisfactions of one person. Truly we live in a network of languages we have developed constantly for our own self. Because of this linguistic weaving the world around us is a world built against the physical. Because of this network, linguistic weavings, our feelings about our world have been built on this metaphysical foundation. I believe our life means the enjoyment of this metaphysical world. As an individual I think it is difficult to rise against this metaphysical world, which is founded on anxiety and deception. But it’s my responsibility of the conscience to express against this metaphysical world and essentially lead a different life with hopes. That is the vision that I try to project through my works of Arts. Heroism romanticism and city life are the concepts that emanate through my creations in this subject area.

What are seen in my creations are exceptionally disfigured human figures, heroes with exceptionally enlarged sexual organs and the figures of popular commodities in the urban life as close signs. I make an attempt to express my emotions of the contemporary social environment. My personal ideas and concepts play a significant role in the development of such forms.
To express the reactions to the present day social movements, I have developed artistic space and form with different scales on the same background. Through this I hope to express the complexities and differences of human relations. I try to blend with the expressionist art for this. When I develop the structure in my paintings colour. Line, shape and space, composition and method have been used and it’s closer to the Sri Lankan traditional paintings. I see as the main feature that flat colours used in traditional paintings and the features of the structure that I developed is potential between the colours and form my paintings essentially try to develop or engender a deep psychological meaning based on social differences. In order to express my emotions at times I have used bright colours as well as very dark ones and the waste products of consumers. Through those, I try to indicate the social values that exist in our social environment.

The spiritual value of my paintings lies in accidence and indefiniteness that exists in the central characteristics of my paintings that resulted from an expressionistic art which blended with many expressionistic art which blended with many experiments carried out by me with the use of Sri Lankan traditional paintings for the achievement of expressions through my creations.