Crafting a vision

Renowned artist and architect Tilak Samarawickrema spent many years in Rome and Milan giving vent to his creative urges. Though the experiences there influenced him a lot, he has always been Sri Lankan in spirit, he tells Nilima Pathak.

One of the things that upsets Tilak Samarawickrema are the ugly signs and billboards that dot the roadsides in Sri Lanka. "These commercial billboards visually disturb me,'' he says. "Colombo has verdant areas, but these hoardings are an eyesore. It is an alarming phenomenon that needs to be addressed.''

Celebrated architect, artist, photographer, author ... Sri Lanka born Samarawickrema wears all these hats with ease and panache. He is keen to promote the rich arts and crafts of his country in the domestic as well as international markets, and although he has strong views about what constitutes good design, he has an open mind and is willing to lend his ear to ideas that can make the countryside more aesthetic.

Samarawickrema was in New Delhi late last year to talk about 'A national identity or universality in design:

A personal quest', at the India International Centre.

People's appreciation and demand for handwoven objects has helped Sri Lanka a great deal, he told the gathering. And he should know: he has held various positions in the arts and crafts units of Sri Lanka and helped develop the handicrafts sector immensely.

In fact, in 1986, as consultant for the International Labour Organisation, he helped establish a design unit at the Sri Lanka National Design Centre. Here he worked with more than 200 craftsmen churning out hand-crafted products that were much sought after.

The programme culminated with a sell-out exhibition held at the National Gallery of Art. It was a landmark exhibit in the context of crafts development in the country.

"The methods of production and the development of the crafts were documented, video-taped and catalogued for the benefit of future craftsmen," he says.

An artist who firmly believes in the "universality of design'', Samarawickrema says, "My understanding of my cultural rules gave me the strength and confidence to go beyond regional boundaries.''

And he did. The now principal partner of the Architectural and Design Group, Tilak Samarawickrema Associates in Colombo, Sri Lanka, honed his skills first in Sri Lanka and later in Milan and Rome.

Early days

Samarawickrema graduated from the School of Architecture in Katubedda in Colombo in the late '60s and was lucky to get an opportunity to pursue his passion – architecture – in Italy in the early '70s.

"In the initial years, I underwent training at the Milan Polytechnique and thereafter at the International Centre for Conservation of Historic Sites and Monuments in Rome.''

Recognising his proficiency, the Italian goverment offered him a scholarship to pursue further studies in architecture. After completing his scholarship, "I began drifting into the world of fine arts with my line drawings," he says.

His works, which were original, ethnic and contemporary, were exhibited at well-known art galleries in Rome and Milan, and created a minor sensation on the Italian art scene. "This was a time when Sri Lanka was being discovered as an exotic new tourist destination and it gave my work an added flair and curiosity, which helped promote it among the Italians," he says.

Keen to conquer more peaks in the world of art, he teamed up with Corona Cinematographica, Rome, and began work on an animation film. Here too he tasted success: it went on to become the Italian government's entry for the Oberhausen Film Festival in 1978.

"The film, Andare of Sri Lanka, based on a popular Sri Lankan folktale, [also] won an award from the Italian Ministry of Cultural Affairs in 1980," recalls Samarawickrema.

During his stay in Italy, especially in Milan, Samarawickrema was much sought after by leading architects, designers and photographers who were keen to know about Sri Lanka.

"From fine arts and craft development to architecture the exposure to international art, photography, design, cinema and modern dance enriched my personality and helped me formulate my thoughts in the architectural field," he says.

During this time he also held several exhibitions in Italian cities and later in New York.

In 1973 he represented Sri Lanka at the Biennale di Sao Paolo, Brazil (an exhibition of works by international artists). Four years later, he was invited to the Quadriennale di Roma (Foreign artists living in Italy) and in 1980, held a personal exhibition at the Rizzoli Gallery in New York.

From Colombo to Guatemala

In 1983, Samarawickrema returned to Colombo to complete his Masters
in Architecture at the University of Moratuwa.

After a short stint at the Sri Lanka National Design Centre in 1988, Samarawickrema founded the Crafts Gallery developing innovative crafts for local and international markets.

Two years later, on the strength of the Design Centre programme he executed, Unicef suggested that he do a similar project in Guatemala in Central America to help Mayan Indian weavers.

Samarawickrema took it up and travelled extensively into the most remote villages of Guatemala. "I lived with the weavers to understand their ancient weaving techniques and their art,'' he recalls. Apart from compiling a report for Unicef, he also completed a commissioned photographic documentation titled Chance for the Child Program – Guatemala.

He also developed and produced the Guatemala tote bag that was marketed internationally.

In the late '90s, Samarawickrema returned to Colombo. Not a man to rest on his laurels, he met with cloth weavers of Thalagune in Uda Dumbara, a remote village in the Kandyan province of Sri Lanka, to collaborate on creating hand-woven tapestries. The pieces were a huge success and were sold in the Design Store of the Museum of Modern Art in New York for over eight years!

Samarawickrema also held two successful museum shows of his tapestries at the Deutsches Textilmuseum, Krefeld, Germany, and Norsk Form Design Museum, Oslo.

"I am currently working on a 'green' factory for the Hirdaramani Group of Companies in Agalawatta, Sri Lanka. We are using solar panels on the front facade as a design feature. The factory site blends perfectly with the lush green terrain around it," he says.

He admits that even after 30 years of working and educating himself, the learning process continues.

I

I have a multi-faceted design background. It ranges from fine arts and crafts to design and architecture.

Though I was born into a very traditional family, and had a conventional upbringing, I do not think on traditional lines. Over the years, I've imbibed various international influences, but I have been Sri Lankan in spirit.

I have strong opinions about design, but am not rigid. I am open to ideas.

I get stimulated by the works of other architects and improve my design skills. I am still hungry for inspiration, regardless of what aesthetic discipline it comes from.

I enjoy patronage from people who believe in my work. Earlier it was my art and now it is architecture. I am fortunate that my clients – both in Sri Lanka and overseas – keep encouraging me.

ME

Me and my father
He will always be a great source of strength and inspiration. He was a brilliant engineer and technically far more adept than me. I am dependent on others for solving technical problems ... something I consider a handicap. Originally I wanted to follow in my father's footsteps and take up engineering, but am happy that I pursued a career in architecture. I attribute my aesthetic skills and talent to my mother's genes.

Me and my family
I married Sriyanthi, a Sri Lankan woman, 14 years younger to me. We have a daughter, Nethra, 23, who is completing her final year in Politics and International Affairs in the US.

Me and my work
My thinking is contemporary. My architectural work has evolved into a very minimalistic style. I believe in clean and uncluttered spaces and in my recent projects, it is the most outstanding feature.

Me and my failures in life
Initially, I did not focus on architecture but flirted with other disciplines. I now feel I should have pursued architecture from the beginning.

Me and my struggles
My struggles were mostly during my school days, which were very frustrating particularly because I was never a bright student. I blossomed only after architectural studies. I also had a difficult time living off work as an artist in Italy. I really do not know how I managed! On the other hand, I rather enjoyed the bohemian lifestyle I led.

Me and the person behind my success
Myself.

Me and Sri Lanka
I am trying to popularise Sri Lankan images, forms, colours and traditional compositions and also marketing products by indigenous craftsmen.

As a result, a number of hand-woven products are being sold at various shops in Colombo. But for all crafts to flourish, it is necessary for tourism to get a fillip.

MYSELF

Since architects build for others, their ideas and predilections in art at times have to be subsumed to the client's ideas and demands. Comment.
If you are clever enough you can work around them, and be successful without compromising on the aesthetics and functions. This also gives the client a sense of satisfaction that his functional needs have been met.

You have written books including Modern Woven Art. Which is your favourite?
It was by Pierre Restany, the well-known French art critic of Domus magazine. He even wrote a foreword to one of my books. It reads: Your calligraphy is the image of your language, of the Sinhalese alphabet composed of curves, scrolls and arches ... The tale itself follows the sensual, sinuous course of the letters. Your drawing is pure, lyrical extrapolation from this form of writing. It crystallises the atmosphere; it gives body to the story and flavour to the legend. In this way it has no temporal limits.