The erasure of familiar features from the human face has become a device in Weerasinghe’s work through which he delves into the human–inhuman dichotomy. Mauled by jagged lines that run along the entire length of the portraits in 'Bheeshanaya -Faces' (1989) are deliberate attempts to destroy traces of any identifying features. Inasmuch as it was a physical act of destroying any markers of identity, it also showed his cognitive inability to associate himself with the label of being a Sinhala Buddhist.