My practice investigates the relationship between objects of power and desire, and the ways in which they shape, reflect, and are transformed by the social, political, and cultural structures that surround them. I am interested in how architecture, ritual objects, landscapes, textiles, ornaments, and symbols become instruments through which authority is established, identity is negotiated, and aspiration is expressed. Rather than treating these objects as static artifacts, I approach them as active participants in society, constantly accumulating new meanings as they move across time, class, and culture.

The practice is equally concerned with the decolonization of visual knowledge. I seek to rediscover and modernize traditional Sri Lankan painting techniques, not through replication or nostalgia, but by understanding their underlying systems of making, perception, and representation. Temple murals, manuscript paintings, textile traditions, ceremonial decorations, and indigenous methods of image construction provide both technical and conceptual foundations for my work. Their spatial conventions, symbolic compression, layered narratives, and handcrafted surfaces offer alternative ways of seeing that stand apart from inherited Eurocentric artistic conventions.