The Printmaking Lab Online Gallery Presents
Alejandra Coirini – Argentina
Anura krishantha – Sri Lanka
Anusha Gajaweera – Sri Lanka
Bandu Manamperi – Sri Lanka
Buddhika Nakandala – Sri Lanka
Jagath Weerasinhae – Sri Lanka
Koralegedara Pushpakumara – Sri Lanka
Kryštof Novotný – Czech Republic
Malki Jayakody – Sri Lanka
Miguel Barros – USA
Münüre Şahin – Turkey
Poornima Jayasinha – Sri Lanka
pradeef Chandrasiri – Sri Lanka
Prasanna Ranabahu – Sri Lanka
Buddhika Nakandala
Sri Lanka’s rulers used terrorism to brutally and sexually torture journalists, artists, civil activists and unarmed people who opposed their work. Ranil directed terror through the “Battalanda” killing camps, the Rajapakse regime used its allies in the war in the north, used state power, stole people’s wealth and terrorized the people by killing unarmed people. “Ranil-Rajapaksa” was sowing other forms of state violence and terrorism in Sri Lanka and still using thugs to attack unarmed people.
Vangeesa Sumanasekara
It is a commonplace of today’s intellectual universe to claim that histories are always seen, or even constructed from the point of view relative to a particular context, a particular subjective position. Or, more simply, we are accustomed to say that there is no history as such, in the singular, a sequence of events graced with the being of actuality. What we have instead are histories, in the plural and not history. This is why we can no longer simply say that histories are written by the victors. To be sure, histories will always be dominated by certain peoples, classes, genders, States. But it is equally true that, with the consciousness of inherent plurality of the way the past can be reconstructed, the idea of competing histories have come to the fore. For over a century or so, a multiplicity of contenders – from black activists, gay/lesbian theorists, feminist critiques to post-colonial writers – have come to challenge the narratives about the past presented and constructed by the Victors. Of course, we must add the proviso that all this may ultimately amount to nothing, and we may end up where we started from. But the important point is – it may also not be the case. For it is also the case that this new understanding of history depends on an equally new understanding of different futures, on whose anticipation these histories can vary. This is why it is important to try to remember the different histories, because they are
inevitably linked to the hope of a different future. All the different pasts, stories, things, individuals – both dead and alive, both killed or survived – that are remembered, reconstructed here are linked to those distant futures, that may or may not come, but could only come because we are waiting for it to come. We do not know if those distant futures would be black or white or something in between – but we do know that it should be shaped by the memories of these black histories.
Alejandra Coirini – Argentina
Laboratorys
The development of science, as in everything, has its positive side and its negative side. Many countries have leaders who use their power through the health of their people. This was evident with the pandemic and the management of the supply of vaccines.
The work “laboratory” shows how a man emerges from a bottle among many laboratory instruments, it represents the irony of the created man, not naturally, it is the man created for certain interests managed by certain powers
Alejandra Coirini
“laboratory instruments” by Alejandra Coirini
Edition 1-3 , E-V, laboratory ll, 67 x 49 cm, ink on acid free paper, 2022 Reference: 22/22/02/01 Condition: Excellent
“laboratory instruments” by Alejandra Coirini
Edition 4-4, e-v,laboratory instruments ll,54 x 37 cm, ink on acid free paper, 2022 Reference: 22/22/02/02 Condition: Excellent
Anura krishantha – Sri Lanka
“untitle“
“untitle“ by Anura Krishantha
01 / 01."untitle". Anura Krishantha. 2017. archival paper on print.Sheet Size: A3. Signed: Signed. Reference: 17/22/02/03 Condition: Excellent
“untitle“ by Anura Krishantha
01 / 01."untitle". Anura Krishantha. 2017. archival paper on print.Sheet Size: A3. Signed: Signed. Reference: 17/22/02/04 Condition: Excellent
Anusha Gajaweera – Sri Lanka
The Story of Hammer and Nails
As a small boy, I was so fond of going to a carpentry-hut near my house to see the tools, and hammers loudly pounding on nails of various types to connect pieces of wood together into fascinating, playful shapes.
I was just 11 years when Threema Vitharana, a medical student activist, was abducted and murdered. Large nails were put through his skull from the sides, and with ropes tied to them, he was dragged on the road and left on the side. The most brutal murder ever to hit local headlines! That was neither a beginning nor an end. Social violence still continues even after the end of the 30-year war in 2009.
Today in my art, these tools, hammers and nails, oscillate between my nostalgic memory of intriguingly ‘connecting’ things into playful, beautiful shapes, and the never ceasing ‘violence’ of our tormented society. With a hammer and nail, I want to crucify violence, so it will never resurrect!
Anusha’s ‘Hammer and Nails’ centers around the idea of how everyday tools are both instruments of creation while also being weapons of destruction. In his art, these tools oscillate between being utensils that create beautiful, playful shapes with being symbols of unceasing violence that plagues our society.
Anusha Gajaweera
“The Story of Hammer and Nails i “ by Anusha Gajaweera
01 / 01.”The story of hammer and nails”,2018,50x36cm,mix media on ,acid free paper. . Signed: Signed. Reference: 18/22/02/05 Condition: Excellent
“The Story of Hammer and Nails i “ by Anusha Gajaweera
01 / 01.”The story of hammer and nails”,2018,50x36cm,mix media on ,acid free paper. . Signed: Signed. Reference: 18/22/02/06 Condition: Excellent
Bandu Manamperi – Sri Lanka
Perforated Body (Performance Still) by Bandu Manamperi,
1/1. “Perforated Body” .Bandu Manamperi. 2008. Sheet Size: 4R.Signed: Signed. Reference: 08/22/02/07 Condition: Excellent
1/1. “Perforated Body” .Bandu Manamperi. 2008. Sheet Size: 4R.Signed: Signed. Reference: 08/22/02/08 Condition: Excellent
Buddhika Nakandala – Sri Lanka
Are these government institutions products?
Buddhika Nakandala
figure by Buddhlka Nakandala
03 / 01.”figure”. Buddhika Nakandala. 2022. paper on Digital print.Sheet Size: A3. Signed: Signed. Reference: 22/22/02/09 Condition: Excellent
figure ii by Buddhlka Nakandala
03 / 01.”figure”. Buddhika Nakandala. 2022. paper on Digital print.Sheet Size: A3. Signed: Signed. Reference: 22/22/02/10 Condition: Excellent
Jagath Weerasinhae – Sri Lanka
Untitled by Jagath Weerasinhae
1/1. Untitled .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
1/1. A face .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
1/1. A mother in Sri Lanka .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
1/1 .Questioning .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
1/1. Ruined Stupa .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
1/1. Long-necked man .Jagath Weerasinhae. 1989.woodblock prints Reference: 89/22/02/j1 Condition: Excellent
Koralegedara Pushpakumara – Sri Lanka
My works are containing both in doodling patches and figurative forms. By using these artistic strategies, I expressed that socio- political existence in the post-war situation in Sri Lanka, which has been seen since 2009.Say on the other hand, by these works of art have articulated that strategically organized
state mechanism and the other power acquiescent groups are always doing their non-human actions in the same ways, but seemingly separate manners.
Koralegedara Pushpakumara
2”x 2” Poles by Koralegedara Pushpakumara
1/1 .2”x 2” Poles. Koralegedara Pushpakumara 2019. Mixed media on Acid free paper 50.5 x 72 cm Signed: Signed. Reference: 19/22/02/11 Condition: Excellent
2”x 2” Poles by Koralegedara Pushpakumara
1/1 .2”x 2” Poles. Koralegedara Pushpakumara 2019. Mixed media on Acid free paper 50.5 x 72 cm Signed: Signed. Reference: 19/22/02/12 Condition: Excellent
Kryštof Novotný – Czech Republic
I would like to present the painting Concilium from my exhibition What it feels like for a girl. My name is Kryštof Novotný and I live in the Czech Republic. I have been painting since I was a child. After high school I decided to study History of Art, because I wanted to have more scope about curatorial work. Now I am trying to fully start my artistic career, open a studio and things related to it.
Concilium is the ability to control the mind of another through simple will, which allows the performer to control their actions, memories, feelings, and thoughts. It is one of the Seven wonders of the American Horror Story: Coven series. The stronger the human mind, the more effort is needed to control them, yet a person skilled in this ability can break any resilient mind. It is possible to try to resist this ability, but over time everyone will succumb. The scene of the painting shows a woman who relaxes on her balcony in the morning meanwhile a furious fight and protest takes place behind her on the street. The blue and gold blanket symbolizes the division of the exhibition into night and day and represents the balance between good and evil. Flying ashes represent a moral and social decline.
„The painting interprets a mentally balanced woman who, despite the ubiquitous chaos, is immersed in her own faith and love in a better world. The image further paraphrases the control of the mind, thus letting the model stop time behind her, thus preventing further violence. Socialization here means the personal expression of one person, whose opinion can influence the decisions of other people around her.” adds the description of the painting by the artist himself. Model Jessica Monteiro comments on the theme of painting as follows: „Feminism leads important conversations, breaks down the stereotype of strong men and weak women. Yes, I am a feminist! Do I hate men? Absolutely no! I love men. Especially those who are feminists and women who long for what is rightfully theirs. Just because I am asking for the same rights that men hold does not mean that I want to be treated like a man. I am proud, I am ambitious, and I know exactly what I want. If that makes me a bitch, OKAY!“
Kryštof Novotný
Concilium (Socialization) by Kryštof Novotný
1/1. Concilium (Socialization),Kryštof Novotný 100 x 100 cm, 2020,Signed: Signed. Reference: 20/22/02/13 Condition: Excellent
Malki Jayakody – Sri Lanka
“ The Past and Present ’’
Malki Kaushalee Jayakody
The Past and Present i by Malki Jayakody
The Past and Present I .Malki Jayakody. 2022 , Mix Medium on Paper , 29.7cm x 42 cm , Signed: Signed. Reference: 22/22/02/14 Condition: Excellent
The Past and Present ii by Malki Jayakody
The Past and Present II Malki Jayakody. 2022 , Mix Medium on Paper , 29.7cm x 42 cm , Signed: Signed. Reference: 22/22/02/15 Condition: Excellent
Miguel Barros – USA
Those prints are inspired in the horror of violence against people.
Those 4 mono prints that I titled “Bleeding Shadows I, II, III, IV” are an abstraction, or a feeling, through my own experience in the world where I was witness of violence against people in so many societies and how it changed my own perspective and my approach to life, even mankind!
The colours I’ve used, black and red represents the shadows of people trying to escape from all kind of torture, hate and crimes, the red means blood, bleeding, suffering in body and soul and the taking breath of life who are innocent victims of all the terrible systems in the world who are always trying to crash the life of people, good people,
With those 4 mono prints I am trying to create in myself the importance of justice in the world of each soul, each person, and what make me ask questions to myself how could we all gather together should improve life and hope and peace…”
Miguel Barros
”Bleeding Shadows II” by Miguel Barros
1/1”Bleeding Shadows II”.Miguel Barros. Size: multi print 27 cm x 38 cm, on Acid free paper. 2022 Signed: Signed. Reference: 2222/02/16 Condition: Excellent
Bleeding Shadows III by Miguel Barros
1/1”Bleeding Shadows II” .Miguel Barros. Size: multi print 27 cm x 38 cm, on Acid free paper. 2022 Signed: Signed. Reference: 2222/02/17 Condition: Excellen
Münüre Şahin – Turkey
Anonymous by Münüre Şahin,
anonymous, Münüre Şahin, silkscreen print, 100x70cm (print area 60x42cm), 2020 Signed: Signed. Reference: 20/22/02/18 Condition: Excellen
Anonymous by Münüre Şahin,
anonymous, Münüre Şahin, silkscreen print, 100x70cm (print area 60x42cm), 2020 Signed: Signed. Reference: 20/22/02/19 Condition: Excellen
Poornima Jayasinha – Sri Lanka
“Return“
The Aragalaya are mass protests that began in March 2022 against the government of Sri Lanka. On July 9, the president fled his official residence in Colombo before large numbers of protesters gathered at Chatham Street, Colombo, near the president’s House, demanding his immediate resignation. On that day, being among the protesters, I took photos of the placards left on the ground. People walking over the placards remodel, changed and erased its original text. The fragments of text that remain echo the dark histories. For me, re working over the photographs, is a way to memorialize, reinterpret, and recount the histories through the reflection of memory.
Return by Poornima Jayasinha
01 / 01.”Return“. Poornima Jayasinha. 2022. archival paper on print.Sheet Size: 14.8 X 21.0 cm . Signed: Signed. Reference: 19/22/02/20 Condition: Excellent
“Return“ by Poornima Jayasinha
01 / 01.”Return“. Poornima Jayasinha. 2022. archival paper on print.Sheet Size: 14.8 X 21.0 cm . Signed: Signed. Reference: 19/22/02/2/21 Condition: Excellent
pradeef Chandrasiri – Sri Lanka
When we look back the life, it seems it is impossible to erase the scars laid on both sides, arisen out of socio-political movements.
pradeef Chandrasiri
Mother Land by pradeef Chandrasiri
Pradeep Chandrasiri, Mother land 2014, photo print in Light box, 36 x 48cm .Reference: 14/22/02/22 Condition: Excellent
Prasanna Ranabahu – Sri Lanka
“The “Reason” is always trying to act as an all-seeing god eye and in the same time it seeks map out the things around us and therefore they can navigate us. But, since it beginning, it is ahead of us, enigmatic and exterior to analysis”.
Prasanna Ranabahu
“Things, Shadow and Raging Sea” by Prasanna Ranabahu
1/1. Prasanna Ranabahu.. 2019. Type: Photo print .Sheet Size: 66.5 x 42.1 cm. Signed: Signed. Reference: 20/21/01/23 Condition: Excellent
“Things, Shadow and Raging Sea” by Prasanna Ranabahu.
1/1. Prasanna Ranabahu.. 2019. Type: Photo print .Sheet Size: 66.5 x 42.1 cm. Signed: Signed. Reference: 20/21/01/24 Condition: Excellent
The Printmaking Lab – Online Gallery 