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Muvindu Binoy

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Muvindu Binoy is an independent film maker and digital artist based in Colombo. His bright multicolored collages appear as a Sinhalese modification of gaudily Pop Art, where he assembles various objects off the internet to hybrid figures. You will notice references to daily Sri Lankan politics, so the artist raises questions about urban socio-cultural developments of his native Colombo. The images are latent cynical, visualizing popular culture objects in combination of nostalgic vintage images of colonial photography.

Preferred format is the square, an indirect citation of the normative trimmed image-cosmos of Instagram. The variety of images popping up on screen every day is endless. While scrolling over them, images of advertisement, celebrity’s shots, politics, selfies, private family photos, art and culture, will amalgamate in front of one’s inner eye to one blunt vision of life, possibly creating one digital collage. The motifs are highlighted and framed by pastel-colored geometric shapes in evocation of digital icons. Binoy incorporates contemporary digital pictorials, his style is distinguished by a combination of straightforward constellations and aesthetic effects. His selection of colors and images signifies the takeover of a precise global hipster trend of his generation, once an urban subculture, now a glossy visual hegemony. 

Binoy held two solo exhibitions ‘The Holy Merchandise’ (2015) and ‚Divine Thru’ (2016) at Saskia Fernando Gallery and participated in the group exhibitions Colomboscope: Shadow Scenes (2015) and Colomboscope: Testing Grounds (2016). Some of his collages from the ‘The Holy Merchandise’ were selected by ‘PIX Magazine’ to be show cased in an exhibition.

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Hanusha Somasunderam

Hanusha Somasunderam's work attempts to share he struggle faced by upcountry plantation workers in Sri Lanka. this struggle has existed for over a hundred years without a solution or public attention. Although they live in the highlands of the country closer to the clouds and sky, their living conditions are so poor. they contribute to the country's economy and suffer hardship in return. In these works she explores the plight of the tea estate workers who work hard to get their daily wages, contend with nature, landslids, leeches and climate only to bear the strain of what life dictates on account of their work.


She uses locally-used handmade strainers and tea bags as sculptural materials. together they conceptually embody the strain suffered by this community, which seeps into every aspect of their lives along with that of their offspring, like an indelible stain that marks you for life.

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