By Tiranya RanasiNghe
An exploration of the transition between monsoons is what inspired Layla Gonaduwa’s project ‘Facing Maha’. Initially meant to travel overseas to enact the original concept, Covid-19 shifted her plans and instead, Layla ventured on a journey where she went in search of what ‘home’ entailed. The 3-month journey is depicted in her work where she exhibits concepts such as migrancy through the lens of species. Being a self-taught interdisciplinary artist, Layla also talks to us about her background in Art and how ‘Facing Maha’ defines her overall identity as an artist.
Q What inspired ‘Facing Maha’?
‘Facing Maha’ was simply the beginning of a journey in the face of the impending Maha Monsoon. Between monsoons there have always been a period of transition and this was the fundamental aspect of my concept.
Q Tell us a bit about the process of the project
The project concept was thought by me to fit a home country residential programme. Due to Covid, it was not possible to travel overseas to fulfil the original concept, awarded by Pro Helvetia - Swiss Arts Council. The process was to stay at each place for a couple of weeks, be open to situations that arise and stories would spring up. There was no effort and attempt to create, but just to observe the response of a host community or system as well as my behavioural pattern. Stories and situations I was privy to regarding migration, movement and species came from unlikely places. The landscapes that lay before me in terms of species and ecological movement and spread, were diverse, not always symbiotic, and harmonious nor incongruous and at odds.
Just as the varying degrees of assimilation, conformity, loss of identity, acceptance, disturbance, submission, invasion it had behind it; before it lay a creation of a New Space that might at times not be obvious. Some were jarring and fighting for their presence to be recognised. Others had a mycorrhizae concept of invisible symbiosis. Between these two opposites, vast degrees of conflict, absence and presence, loss and recovery, were apparent. I maintained a blog, facingmaha.blogspot.com while on the move, and the art sprang up from this repository. My own exploration of the concept of ‘home’ was layered and nestled within this whole process
“To revive, restore and rejuvenate for more efficient performance or simply, survival.”
Q Were there any experiences you remember during your journey?
There were many and in between. The story of King Wathhimi I explored in Ibbagamuwa and meeting Wije Aththa and his ‘Thani Akura Kavi” from the abandoned village of Walpolamulla. I also encountered the Rodi camp and the Adam’s Bridge, not to forget, the Big Teacher in Habarana too!
Q What do you want to convey to your viewers through your project?
I have only my thoughts and views on what I experienced. That too, is from my singular perspective. In my last entry in the blog this is part of what I contemplated.
“Is it possible to conclude that assimilation/integration from both sides is a triumph, and not be dismissed as submission or loss of any kind, rather a birth of a new presence than an absence? These are conflicting questions. Dilemmas.
Integration occurs ecologically as well as in human terms because of the natives accepting the new species, or a migrant/visitor accepting or challenging the conditions of the existing system as necessary to propagate or spread. My own behavioural pattern at each given place indicates conscious change. I am aware that I settled into spaces seamlessly and jarringly, both. Harmoniously and disruptively. In turn, there were similar reactions at my entry and presence. The aspect of “rationality” in the non-human world mostly does not exist (there are ongoing studies on this, though) and they are pure ecological processes that determine whether a species can establish itself. But in the human world there are conscious decisions and choices of reasoning made in assimilation and spread. When voices and perspectives of different groups come together, it automatically creates an ideal base for inclusive, participatory, and reciprocal engagement in a community. It further activates and integrates successfully, an already established system. In most instances human translocation cannot cause the complete upheaval of a solid state.
Alternatively, a species migration can have a larger impact on the balance of an ecosystem as it is governed by different natural laws.
But both non-native humans and species are quick to identify weaknesses, needs and loopholes in a receiving system and move to establish, dominate and/or fulfill those needs, lapses, and spaces. At times alternatives not thought of or unfamiliar to an established system, are born with new entrants. New visitors to the host system brings forth a higher aggression of spirit and drive, which is noticed in both human and species translocation. If we go back in history to a fundamental spiritual point, acceptance or welcoming a stranger is not an outdated concept. Can its relevance be applied to an alien or new species in our midst?
“To revive, restore and rejuvenate for more efficient performance or simply, survival.”
Q What does it mean to be a self-taught interdisciplinary visual artist?
I have no formal education in Art. I learnt mostly on my own through tactile practices. There were many failures and mistakes, especially in enamelling and sculpture.
Interdisciplinary was taken from the art world categorising me as an artist who uses many mediums to convey. I am comfortable and bold in material use which is a good starting point.
Q What kind of preparations have you done for the upcoming exhibition?
It’s been almost a year since the journey ended. Like all of us artists, I thought I had everything done... The trick is not to revisit the work!
Q Lastly, how does ‘Facing Maha’ define your identity as an artist?
It only amplifies that I always work through a cathartic, explorative process. This exhibits that my work is deeply personal and evolving.
Her upcoming exhibition, ‘Facing Maha’ will be open for public viewing at the Barefoot Gallery from 27th of October onwards.
- Will be open for public viewing at the Barefoot Gallery from 27th of October onwards.
