My arts practice stands at the intersection of drawing, performance, film, installation, and soundscapes, foregrounding the primordial connection between land, rituals, and the body.

There is a symbiotic and synergetic relationship between my marks and my movements—a dialogue that transcends the material world. Through my marks, I reach out to unseen realms, while my body grounds me in corporeal truths. Beyond the objective world lies an intangible one, accessible through intuition and instinct. My work emerges moment by moment, as my senses come alive and respond to this deeper knowing.

I was born to Bibile, rural village of Sri Lanka I spent all my holidays there on the banks of Gala Oya River. These early childhood memories instilled in me a longing to commune with the land and it’s rivers. My happiest moments were spent with my feet deep in mud, immersed in the tropical and monsoonal rhythms of Lanka. Growing up amidst the rhythms of cultivation—sowing, reaping, threshing, and pounding—tied me to rituals, deities, and temple ceremonies that deeply informed my sense of movement and belonging. I was captivated by the sacred dances, priests, pilgrims, and ceremonies, which instilled in me an embodied, internalized knowledge—a bodily connection to land and ritual that continues to inform my practice.

Still a teen I moved to Australia at 19, to study at a university in Melbourne and finally made myself at home in Beechmont in the Gold Coast Hinterland in Queensland. In Beechmont I was guided to sit with the neighbouring Wanjerriburra and Manunjali Elders to deeply listen, think and learn from the land. Here, I learnt how to walk Country and respond to Country, where I let the land speak directly to me.  

After 25 years in Australia, I feel caught in a tug-of-war between my mother, my mother tongue, and my motherland of Sri Lanka, and the sense of belonging I’ve cultivated in my adopted home. In Australia, I’ve come to embrace the concept of “Ancient Futures,” a way of being that connects past wisdom to the present and what lies ahead. 

My performances—often anarchic and improvised—draw on repressed emotions, exploring the complexities of migration, identity and belonging as a diasporic artist. I am inspired by the Temple Priestess, a figure who mediates between worlds, embodying the in-between. My own transcontinental identity places me in a similar liminal space, navigating the tensions of home, heritage, and the possibilities of belonging.