July 23 holds a sombre significance for Sri Lankans, marking the anniversary of the 1983 pogrom, a brutal event that ignited decades of ethnic violence and conflict. For artist, sculptor and social activist Prof. Chandraguptha Thenuwara, the date serves as a poignant reminder of the unresolved issues that continue to plague Sri Lankan society. “These exhibitions are a way of commemorating what cannot be officially commemorated like war and its aftermath,” he points out.
Professor Thenuwara’s artistic journey began in 1997 with a series of annual exhibitions that have become a platform for him to express his concerns about the country’s ongoing struggles. His work has evolved over the years, responding to the changing political landscape and the persistent issues of land disputes, missing persons and unfulfilled promises. This year his exhibition, Neo-Glitch at the Saskia Fernando Gallery, explores the current state of uncertainty in the country.
The concept of the glitch is a powerful metaphor for the distortions and disruptions that have become a hallmark of Sri Lankan politics. “A glitch refers to a distortion like on a malfunctioning screen. I use it metaphorically to express the current state of uncertainty in the country. There’s a lack of clarity in our politics, in what’s happening around us. The glitch represents that distortion,” he explains. His use of oil on canvas and iron rod installations creates a sense of unease, reflecting the turmoil that lies beneath the surface of society.
