Reginald S. Aloysius is a British-born artist whose background has informed his work exploring themes of globalisation, emigration, and the destruction of tradition—intentionally or otherwise—through development and modernisation.

After graduating from The Ruskin School of Drawing and Fine Art, Oxford University, Aloysius spent many years freelancing as an Art Technician working directly with artists across Europe before completing a Masters at Kingston University on a research-based drawing programme.

Through the exploration of the iconography of Sri Lankan and Southern Indian temples, Aloysius investigates the social agency inherent in any cultural choice.


1)    How does art influence you?

Influence from art takes different forms. Conceptually and visually. For me it’s as much about the artists themselves as anything else. I have worked as an art Technician for many years alongside many influential artists.

Their methods or their philosophies can influence the way I think about my practice. How I approach it and how I tackle problems.

Conversations with my contemporaries is another influence.

2)    Who ignites your creative instincts?

I have always drawn. As a child I would draw at my desk under the science books that I was supposed to be studying. But now my practice is very considered.

Although I have an overriding desire to draw, the physical action excites me, I do a great deal of research and development. Since my Masters, which was a research based drawing programme I worked this way.

The late Baroque works of Claude Lorrain and Salvatore Rosa, the work of Piranesi influence me as do the work of early colonial photographers such as Henri Mouhot and  Linneus Tripe.  

3)    What would you say defines your work?

I would say that my works are drawings that map experiences of a society that is rapidly travelling ahead with no destination. The work is defined by us. As society as a whole.

4)    Describe your creative process.

I have travelled extensively throughout South India and Sri Lanka also to document images. When I return to the studio I draw two images superimposed onto each other.

One of temples and the other of jungle foliage. This process can take a week to 2 months depending on the size of the piece. I then score into the surface lines with a scalpel.

These are the images of scaffolding surrounding new buildings being built in the west. Again from photos that I have taken.
 

5)    Comment on the use of art to convey emotion

Art can convey emotion through tension, medium, perspective and plan. Tension is one of the ways I hope to convey emotion, reaction or discussion.

The medium makes a big difference in transmitting the feelings of the pieces. The physical act of creating the detailed drawings is time consuming as I mentioned but scratching into the surface creates a great deal of tension with the drawing.

This action cannot be rectified if it’s incorrect. Societies can be scarred by development and traditions cannot be easily returned.

6)    Why and how did you get involved in the Art Biennale?

An artist in London was familiar with my practice and introduced it to Annoushka Hempel who invited me to apply. it is such an important outlet for so many artists in Sri Lanka.

There are some very exciting creative things that are going on not only with those based in Sri Lanka but also from the Sri Lankan diaspora.

Sri Lanka has so very much to offer and in the context of art this event puts it onto an international platform.

7)    What impact do you intend to create through your work? Is your work a mode of expression, a stimulus to reaction or both?

I hope that the work is enjoyed but mainly that it creates a dialogue around society and its need to move forward so quickly. It’s representational of the time.

Although the imagery used is specific to my background the overriding concept is transferable and identified with by many. So I would say that my work is both an expression and a stimulus to reaction.

8)    If you were to take someone on a tour of Sri Lankan art depicted at its best, what places would your list include?

Apart from the obvious galleries that are now mainstays on the Sri Lanka cultural map I would have to say the temples are my first stop.

Hindu or Buddhist, the ancient architecture is a wondrous site. The frescos at Dambulla and Sigiriya have I think been a huge influence on me since a child and the cities of Anuradhapura and Polonnaruwa.

Sapthika Jacob

Reginald S. Aloysius is a British-born artist whose background has informed his work exploring themes of globalisation, emigration, and the destruction of tradition—intentionally or otherwise—through development and modernisation.

After graduating from The Ruskin School of Drawing and Fine Art, Oxford University, Aloysius spent many years freelancing as an Art Technician working directly with artists across Europe before completing a Masters at Kingston University on a research-based drawing programme.

Through the exploration of the iconography of Sri Lankan and Southern Indian temples, Aloysius investigates the social agency inherent in any cultural choice.


1)    How does art influence you?

Influence from art takes different forms. Conceptually and visually. For me it’s as much about the artists themselves as anything else. I have worked as an art Technician for many years alongside many influential artists.

Their methods or their philosophies can influence the way I think about my practice. How I approach it and how I tackle problems.

Conversations with my contemporaries is another influence.

2)    Who ignites your creative instincts?

I have always drawn. As a child I would draw at my desk under the science books that I was supposed to be studying. But now my practice is very considered.

Although I have an overriding desire to draw, the physical action excites me, I do a great deal of research and development. Since my Masters, which was a research based drawing programme I worked this way.

The late Baroque works of Claude Lorrain and Salvatore Rosa, the work of Piranesi influence me as do the work of early colonial photographers such as Henri Mouhot and  Linneus Tripe.  

3)    What would you say defines your work?

I would say that my works are drawings that map experiences of a society that is rapidly travelling ahead with no destination. The work is defined by us. As society as a whole.

4)    Describe your creative process.

I have travelled extensively throughout South India and Sri Lanka also to document images. When I return to the studio I draw two images superimposed onto each other.

One of temples and the other of jungle foliage. This process can take a week to 2 months depending on the size of the piece. I then score into the surface lines with a scalpel.

These are the images of scaffolding surrounding new buildings being built in the west. Again from photos that I have taken.
 

5)    Comment on the use of art to convey emotion

Art can convey emotion through tension, medium, perspective and plan. Tension is one of the ways I hope to convey emotion, reaction or discussion.

The medium makes a big difference in transmitting the feelings of the pieces. The physical act of creating the detailed drawings is time consuming as I mentioned but scratching into the surface creates a great deal of tension with the drawing.

This action cannot be rectified if it’s incorrect. Societies can be scarred by development and traditions cannot be easily returned.

6)    Why and how did you get involved in the Art Biennale?

An artist in London was familiar with my practice and introduced it to Annoushka Hempel who invited me to apply. it is such an important outlet for so many artists in Sri Lanka.

There are some very exciting creative things that are going on not only with those based in Sri Lanka but also from the Sri Lankan diaspora.

Sri Lanka has so very much to offer and in the context of art this event puts it onto an international platform.

7)    What impact do you intend to create through your work? Is your work a mode of expression, a stimulus to reaction or both?

I hope that the work is enjoyed but mainly that it creates a dialogue around society and its need to move forward so quickly. It’s representational of the time.

Although the imagery used is specific to my background the overriding concept is transferable and identified with by many. So I would say that my work is both an expression and a stimulus to reaction.

8)    If you were to take someone on a tour of Sri Lankan art depicted at its best, what places would your list include?

Apart from the obvious galleries that are now mainstays on the Sri Lanka cultural map I would have to say the temples are my first stop.

Hindu or Buddhist, the ancient architecture is a wondrous site. The frescos at Dambulla and Sigiriya have I think been a huge influence on me since a child and the cities of Anuradhapura and Polonnaruwa.

Sapthika Jacob