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FuneralArt on the street in heaven

>> ARTS >> MUSIC >> Interviews >>Fashion >>EntertainmentA life on Canvas

There’s good news and bad news. I’ll start with the bad. Seems the universe is coming to an end. There’s an uprising too. According to a friend, an army is gathering, in the smokes (and other narcotics) lit up in the shadows behind pubs, soldiers preparing to wage a war against…drum roll please…The Regime!

‘What if they have a 10pm curfew?” I ask. “You get posers in every scene,” he says irritably and warns, “if u don’t see that the system is falling apart you need to look a little bit harder. Look at the industries...they’re murdering each other...the only logical course for destruction is destruc-tion.”

Now I’ve heard a fair bit of bad news in my time, but this sounded serious. So I got to thinking, I don’t know much about industries or the universe, but the fact is, Armaged-don is nigh. And I’ve got to prepare myself. I’m just having a little trouble deciding whose side I’m on, what exactly it is I’m �ghting for, whether I give a rat’s behind and whether being a double agent may be more interesting.

But good news is, after a year of thinking about it, I’ve bitten the bullet and launched Strip Magazine. Now I may neither look - or sound it - but the team and myself are pretty serious. I’ll refrain from ranting about my revolu-tionary vision and mission (the statement’s on our website if you must know), but I will say this; Strip strives to be as genuinely unpretentious as we can in everything we present and that’s not easy, what with magazines being only human and all.

Strip Magazine is, quite simply, a start. If we ever become important, it’s because we’ve earned it. It’s a long, long road, and we’re determined to keep walking till we get there.

* And about the universe ending, I wouldn’t worry too much if I were you, all I feel is a back ache.

Kshanika Argent

Joint Editor

Editorial

Editorial

News snippets

Feature No. 1

Feature No. 2

Feature No. 3

Exhibition review

A decade of Stigmata

Carl Muller lit Column, Prashani interview

6

8

10

14

20

18

24

Puppet Museum by Himal

Ameresh Periera interview by Appekka Fernando

Azi Mohamed’s pictorial

By Ranil Halien/FIH Rock Siam/A decade of rock (pictorial by Nattie)/Foreign album review/ local

album review/ interview/ Metal column by Chathuranga or Buddhi

By Gihan, Shehan’s book review by Malinda/ Vivimarie’s book review by Himal/ Poetry corner

Interview of Director

Interview

Struggling and misunderstood

The moral of the story

36

30

40

44

48

-tional movie review

Hikka theatre project review, act be-fore you think review, Review of Colom-bo Colombo in India, No return staged in Cairo, Column by Anasuya

Diary of daily woes by said artists

Column Carl Muller

ourteamEditorHikka theatre project review, act be

Sub EditorHikka theatre project review, act be

Creative TeamHikka theatre project review, act be

Advertising and PromotionHikka theatre project review, act be

DistributionHikka theatre project review, act be

publisher

INK MAGAZINE

Hikka theatre project review, act be

No.105/2Gramaganwatdana Rd,Polwatta, Mannipitiya.Maharagama,_Srilanka.Po box: Email:Web:

10 DECEMBER 2010 INK MAGAZINE

hen settling upon the their 2nd Full Length album title, little did the 3 piece heavy metal band

from New Castle knew that they would be giving birth to one of Heavy Metal’s most polarizing, most sophisticated and extremely philosophical sub-genre’s within the realm of music itself and in turn

amongst others such as Bathory from Sweden, HellHammer/Celtic Frost from Switzerland and Sarcofago from Brazil, would be regarded as legendary veterans and creators of this widely regarded and revered abomination.

Leaving aside the fact of the sub-genre

(or better known as “the �rst wave”)’s intitial in�uences of Punk Rock, Thrash and early Heavy Metal, there is no doubt as to the fact that the collabora-tive contributions of the above mentioned bands leading the sub-genre’s concepts and ideologies to being reborn and rede�ned on more sophisticated grounds where elements of the Heavy Metal aesthetic were taken to extremes consisting of depth in its most purest form by pledging alleigeance to a more anti-egalitarian natural heirachy, giving birth to the emergance of Volkisch ideologies, valorizing culture and nature and the dissapproval of modernity.

Since then Black Metal has indeed come along way from the then celebrated rejection of progressivism and esotericism, leading to projects, like their forefathers (of the genre) pushing the much detested boundary a bit futher by manipulating Black Metal’s most innate potential, its most accomodative element for experimen-tation leading to this years releases such as “Sun in the House of the Scorpio” by the Ukranian veterans, Blood Of Kingu fronted by the much fabled Roman Saenko who opted to base BOK’s themes on Summerian and Indo-Aryan Mythology as well as this years much talked about occult project of who’s lyrical and aesthetic themes consists of transcendental abstract ideologies and philosophy.

United Kingdom’s A Forest Of Stars

gave birth to their latest release “Oppotunistic Theives of Spring” through Transcendental Creations earlier this year, and in this vein consists of releases such as the much awaited second Full Length of the latest project by the frontman of the legendary but now defunct Emperor, “After” by Ihsahn, exposing a progres-sive and experimental fusion of Jazz, Prog and Extreme Metal. Which also almost instantly after the mention of proggressive Black Metal music, reminded this opinionated yet humble writer of one of his favorite releases of the year, being “Dimentional Bleed-ingthrough” by USA’s Krallice and of course the much awaited orthodox Black Metal release of the year, Deathspell Omega’s follow up to 07’s fabled “Fas-Ite, Maledicti, in Ignem Aeturnum”, 2010’s “Paralectus”.

Before we go on any further, may this writer remind you our humble reader, that todays column will only consist of some of the most notable and break-through Black Metal releases in the year 2010, which were brought to my modest attention on the subject of course, and when speaking of break-through music, one cannot in any way possible ignore the newest opus by Netherlandish occult duo Urfaust, who relentlessly insist on “Prais(ing)e Intoxication” throughout their back catalogue. Though their newest release

When settling upon the their 2nd Full Length album title, little did the 3 piece heavy metal band from New Castle knew that they would be giving birth to one of Heavy Metal’s most polarizing, most sophisticated and extremely philosophical sub-genre’s within the realm of music itself and in turn amongst others such as Bathory from Sweden,

in heavenFuneral

“Der freiwillige Bettler” however, does not deter from their most unique elements brought forth by earlier releases, this opus whilst showcasing Urfaust taking the next step in their much intoxicated career by making improvements in the production department for example, still shame-lessly preserves and celebrates the hypnotic and ritualistic ambiance emphasised by the raw minimalist production fused with Willem’s wailing, chanting vocal style.

As far as legendary creations go, the latest release by the Norwegian frostbitten elite Immortal marked their return after the much devastating breakup in 2003 which resulted in their die hard legion’s throwing themselves in much sorrow and despair, such as

this now very enthused and childishly excited writer, of who’s copy of this fantastic Full Length, released by Nuclear Blast Records, is as of now is on it’s 200th spin in the player. Although “All Shall Fall” revamps the delivery a tad by incorporating more 80’s Thrash/ classic Heavy Metal elements which also lead the album to be described by many as a cross between a new Immortal and a new I (Abbath’s side project with members of Enslaved and Gorgoroth) record, “All Shall Fall” intimately holds on to the preservation of the blasting frostbitten grimness of the “Blizzard Beast”/”Pure Holocaust” era’s of the band.

The mention of preservation brings me to the return of a legendary musician/racist prick who once deter-mindley vowed to never again use the guitar for his musical purposes on grounds that it is a “nigger” instrument, but due to his ideological-confusion disorder he later decided to ignore the blatantly sickening statement made by himself and make one incredible record, titled “Belus”. Although the man, due to infuriated feedback from the audience regarding the intial working title for the record “Den Hvite Guden”, which aptly translated to “The White God”, was convinced to change the title to the now known “Belus”, did not fail to release a great comeback record consisting of well written tracks such as “Belus’Dod”and “Glemselens Elv”.

On a not so surprising move, the Norwegian legends Darkthrone who were responsible for releasing unrelenting Black Metal classics such as “A Blaze in the Northern Sky”, released their newest opus, “Circle the Wagons”, a continuation from their recent record in 2006 breaking o� from the Black Metal spectre heading towards a more Punk Rock primitive approach. Other essential Black Metal releases from 2010 include Woe’s “Quietly, Undramatically”, Twilight’s “Monument to Time End”, Lantlos’s “Neon”, Limbonic Art’s “Phantasmago-ria”, Black Funeral’s “Vukolak”, Rotting Christ’s “Aealo”, Watain’s “Lawless Darkness”, Negura Bunget’s “Virstele Pamintului”, Carach Angren’s “Death Came Through A Phantom Ship”, Ondskapt’s “Arisen Through The Ashes”, 1349’s “Demonoir”, Ludicra’s “The Tenant” and Avsky’s “Scorn”.

When settling upon the their 2nd Full Length album title, little did the 3 piece heavy metal band from New Castle knew that they would be giving birth to one of Heavy Metal’s most polarizing, most sophisticated and extremely philosophi-cal sub-genre’s within the realm of music itself and in turn amongst others such as Bathory from Sweden,

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A R T S A N D C U L T U R E

W

he National became popular in a very traditional way: by releasing some really good albums, then touring the hell

out of them. They're boilerplate indie, free of hot new genre tags or feature-ready backstories, which is something their detractors derive great joy from pointing out. If the National are important, rather than merely good, it's for writing about the type of lived-in moments that rock bands usually don't write about that well. The characters in National songs have real jobs, have uninteresting sex, get drunk, and lie to one another. They do so during the regular course of a workaday week, on Tuesdays and Wednesdays. The National aren't "dad-rock" so much as "men's magazine rock": music chie�y interested in the complications of being a stable person expected to own certain things and dress certain ways.

On the National's �fth album, High Violet, those constraints are starting to wear on them, which makes a lot of sense: they wear on most people. In between patches of obtuse imagery, singer Matt Berninger sounds increasingly self-destructive. The

record's upbeat numbers don't cheer him up so much as commiserate with him. All of this makes High Violet a dark a�air, even for a band with a reputation for sad-bastard melodrama. The National have never sounded triumphant, but they can still be reassuring, with Berninger's lyrics acting as salves for our own neuroses. Six drinks in, tired of your coworkers, wishing you could just go home and laugh at sitcoms with some-one? Maybe get laid? The National's got your back.

With an ever rising pro�le and plenty of indie-famous friends-- Su�an Stevens and Bon Iver's Justin Vernon guest here-- the National were a�orded the opportunity to obsess over High Violet. They could've holed up and recorded an idiosyncratic, expectation-defying mess. Instead they produced an ornate, fussed-over record that sounds like no one other than themselves. Given the amount of �ack they take for being a no-frills bore, simply re�ning their sound was arguably the braver option. They miss, occasionally-- the string-drenched closer, "Vanderlyle Crybaby Geeks", is too decadent for its

own good-- but mostly, they construct gorgeous, structurally sound vignettes. There are few bands that could craft a song like "Sorrow"-- in which emotion acts as a character and the band turns Berninger's balladry into a well paced jog-- without stumbling over their own ambitions. The guitars on "Afraid of Everyone" actually sound nervous; "England" speaks of cathedrals over properly magisterial drums. These are triumphs of form.

NationalTheNationalThe

On the National's

�fth album, High

Violet, those con-

straints are starting

to wear on them,

which makes a lot of

sense: they wear on

most people.

T

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A R T S A N D C U L T U R E

The camera or camera obscura is the image-forming device, and photographic �lm or a silicon electronic image sensor is the sensing

medium. The respective recording medium can be the �lm itself, or a digital electronic or magnetic memory.

Photographers control the camera and lens to "expose" the light recording material (such as �lm) to the required amount of light to form a "latent image" (on �lm) or "raw �le" (in digital cameras) which, after appropriate processing, is converted to a usable

10 DECEMBER 2010 INK MAGAZINE

A R T S A N D C U L T U R E

T

photographyphotography

image. Digital cameras use an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or �lm.

The movie camera is a type of photo-graphic camera which takes a rapid sequence of photographs on strips of �lm. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is

The twist comes in here, after the show had �nished and the stage lights were dimmed, no one was 100% sure who the main act was. The reason, because Stigmata got a full house with over 1000 people, from just standing and watching to pumped up and jumping and head banging and moshing ..

Photographers control the camera and lens

Photographers control the camera and lens

Photographers control the camera and lens

Photographers control the camera and lens

Photographers control the camera and lensPhotographers control ..

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A R T S A N D C U L T U R E

ala Pola 2010 in February was a feast for the art starved Sri Lankan, with its ease of access and presentation in a non-intimidating,

non-pretentious atmosphere. Modern art as something accessible to the masses is a refreshing concept represented through Kala Pola, organized by the good people at the George Keyt Foundation.

George Keyt was a key player in the country’s art scene for most of the 20th century and was part of the world famous group of Sri Lankan artists, the ‘43 group’, world famous for his unique perception and subsequent representation on paper, Keyt is still respected as one of the most in�uential artists Sri Lanka has produced.

In the same vein, dozens of unknown artists

lined the pavements of the Ananda Coomaraswamy Mawatha in Colombo 7 (opposite the National Art Gallery), to show the world their unique points of view. While most of them were merely pretty, there were others that were thought provoking. In the middle of a surprising number of President Rajapaksa portraits, a few quirky gems including framed illustrations of veteran Lake House cartoonists stood out.

The sheer variety of the art on display was another interesting feature of this year’s Kala Pola. Di�erent mediums were used, including oils on canvas, pen and ink on paper, silk screen, acrylic on wood, pencil and charcoal among a veritable feast of other methods an art novice like me couldn’t even imagine was possible was on display.

The art on display was for the most part was reasonably priced and ranged from Rs. 1500 upwards depending on the size and material used. There were several extremely interesting pieces depicting strange and wonderful scenes, that I would have expected to see at an international art festival, some that were inspired by a fauvist palate – perfect for interiors and some others that were very clearly in�uenced by pop culture and animation. The point is it wasn’t the plain old women in rivers or temples or elephants that were the highlight of the exhibitions. If it weren’t for exhibitions such as KP we would completely underestimate the level of talent that is practically bursting at the seams to get out in Sri Lanka that we wouldn’t see otherwise.

Despite the blistering heat and direct sun overhead, this is the reason a lot of people including myself armed ourselves with cameras, thambili, friends and �imsy cardboard half hats the organizers were thoughtful enough to hand out, to come out to see the talent.

Like I mentioned earlier apart from the National Art Gallery, most of the local galleries are quite intimidating to enter and even if you do you get the impression that it wasn’t meant for ordinary people like kamal and saman and appekka from the street. Thanks to KP, ordinary folk were able to go around look, smell and touch most of the things on display while speaking to the person that created the piece making the whole experience richer and more personal.

One thing I would have liked to see was art prints, of some of George Keyt’s and other artists from the Foundation’s work for sale. To bring art in to the mainstream, it is important to have it in the public eye. So even if we can’t a�ord the real deal, we can go home with a print – even if it is postcard sized.

Despite that, on the whole I believe it was a successful art exhibition, and personally can’t wait for the hot scorching day in February next year to do it all over again (and that time, maybe, buy something).

Art on the streetNot to be mistaken with street art.

A R T S A N D C U L T U R E

K

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10 DECEMBER 2010 INK MAGAZINE

museum puppet

S

A R T S A N D C U L T U R E

outh of Bentota Bay Beach Resort, the road & railway line run close to the long & continuous stretch of beautiful coast to arrive at the town of Ambalangoda, 86 km (54 miles) from

Colombo. The town has a gorgeous beach. While the beach resorts of Bentota Bay Beach Resort, Beruwala Bay Beach, Unawatuna Bay Beach & Hikkaduwa Bay Beach provide energized activity & luxury, Ambalangoda provide a feeling of

seclusion & opportunity to explore its long stretch of undeveloped beach.

The Amazing MasksThe town is famous for masks & puppets. The traditional masks are carved from light Balsa like Kaduru wood (Nux vomica). Kaduru trees grow in the marshy lands bordering paddy fields. The wood is smoke dried for a week in preparation. The hand carved & hand painted masks in traditional dance dramas are vibrant & colorful. The colourful & vibrant naga

raksha (Cobra demon) mask of the Raksha Kolama (Demon dance), consist of a ferocious face with bulging, popping & staring eyes, a bloodthirsty carnivorous tongue lolling out of wide mouth armoured & armed to the hilt with set of fanglike teeth, & all topped by a set of cobra hoods.

The masks used in the exercise of so called demon dance exorcism are so grotesque, the dance itself is utterly devilish to the breakneck pace of the explosive drums, the whole exercise would halt the march of folly

of evil itself, the long strides of the devil himself. If so the, the aim achieved (didn't we say, we aim to please), all would be in fine fettle, every thing would be in ship shape, all chicks in fine fettle & all would be happy & jolly. It cannot get any sweeter, isn't it?

Mask museumsWe can view the traditional mask craftsmen busy in their trade at workshops. On display at museums are masks symbolizing all the vivid characters, demons, gods, heroes & villains who appear in traditional mask dances. You will have an opportunity to delve into the mysteries, legend, exorcism & psychology in the world of mask dances. Once practiced in the hinterland villages in Sri Lanka, mask dances are now performed mostly for the purposes of tourism & that too mainly in the western beach resorts.

Traditional Mask Dancing showsTraditional dancing shows take place about once a week at Bandu Wijesooriya School of Dancing. A typical show begins with a kolam dance, then follows several ritual dances, a village folk dance, & end up with some short Indian dances.

HandicraftsWhile the town is an important commer-cial & fish trading centre, it is famous for its other handicrafts: hand woven cotton, finely carved wooden doors, screens & lintels.

Galgoda Sailatalaramaya Maha Vihara Temple, KarandeniyaThe temple is located 11km inland from Ambalangoda at the village of Karan-deniya. We can do it the easy way or the hard way. Of course, never to take a back seat, we will do it the hard way, by way of

208 steps instead of reaching the temple by the road. If the murals invite you for closer view, the Buddha statue in a long unpretentious building sweeps you off the feet. The reclining Buddha statue is 35m long, the longest in the Buddhist world.

The astonishing view at the templeThe astonishing view up-country stretching to the faraway mountains includes legendary Adam's Peak. It is seen most clearly in the morning, before 10am, & the area around is lush with cinnamon groves.

Moonstone minesThe village of Meetiyagoda near Ambal-angoda is where the moonstone is found

concentrated within an acre of land believed to have been blessed by the moon.

The mysterious gem, captivating as a full moon gleaming in the night sky, is considered sacred & has appeared in jewelry for centuries. A mesmerizing interplay of light, known as schiller or adularescence, causes a silvery-white sheen to glide like veils of mist across the milky surface of the moonstone. Some

The town is famous for

masks & puppets. The

traditional masks are carved

from light Balsa like Kaduru

wood (Nux vomica). Kaduru

trees grow in the marshy

lands bordering paddy

fields. The wood is smoke

dried for a week in prepara-

tion. The hand carved &

hand painted masks in

traditional dance dramas

are vibrant & colorful. The

colourful & vibrant naga

raksha (Cobra demon) mask

of the Raksha Kolama

(Demon dance), consist of a

ferocious face with bulging,

popping & staring eyes, a

bloodthirsty carnivorous

tongue lolling out of wide

mouth armoured & armed

to the hilt with set of fang-

like teeth, & all topped by a

set of cobra hoods..fettle,

believe that this moving light is evidence of a living spirit that dwells within the gem. Gemologists, however attribute the shimmering phenomenon to the presence of albite crystals embedded in feldspar.

The most sought-after moonstones have a haunting blue sheen, an effect produced by the orthoclase feldspar, which is found almost exclusively in the mines of Sri Lanka

Sunandaramaya MahaviharaThis is one of the earliest Buddhist temple on the south coast, which might account for its thorana (gateway), the largest on the island. On the outer wall of the shrine room are some rare murals depicting Jataka stories (stories from the previous lives of Buddha)

Boat ride in River Madu (Madu Ganga Wetlands)915-hectare Madu Ganga Estuary is connected by two narrow channels to the Randombe Lake, forming a complex wetland system encompassing 64 mangrove islets. In the year 2000, Interna-tional Union for the Conservation of Nature (IUCN) undertook a detailed biodiversity survey of the region & revealed the

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turn out. From thereon it's just a process of drawing a layout from the thumbnails that I think works best compositionally, researching on the subject, getting proper reference if need be for the objects in the drawing, �nalize the drawing and then the actual execution of the piece. The initial process of researching and sketching out ideas is the most important and rewarding part of my creative

process, since it's crucial in creating a well-executed, �nished illustration.

Do you try to tell stories with your work, or is your work an expression of feeling? Or something else completely?Telling stories with my artwork is some-thing that comes to me naturally since I am an illustrator. I love my illustrations to have somewhat of a humorous and cartoony side to them. I draw inspiration from what I see in real life but with a lot humor, exaggeration of shapes and lots of colours.

What inspires you to create art and how do you keep motivated when the ideas are running dry?I draw inspiration from other artists, the animation industry and music. I usually don't �nd myself running out of ideas; it's more not having enough time to do all the things that I'd like to do. Whenever I look at other artists’ artwork, watch an animated feature or listen to/play music, I feel motivated to create art.

Who or what had the greatest in�uence on you as you developed as an artist?My love for drawing really started when I was introduced to all the animated features by Disney Animation Studios in my last years of high school. I fell in love with the art of animation and I immedi-ately knew this was what I wanted to do, to be a character design/visual development artist for the animation industry. All forms of animation and artists in the industries of traditional 2D, 3D and stop motion animation have in�uenced me greatly. The works of Disney Animation Studios, Pixar Animation Studios, Tim Burton and Aardman Animation are my main in�uences. I’m also inspired by the works of master artists like Picasso, Rembrandt, Ego Schiele and J.C Leyendecker. Contem-porary artists like Mary Blair, Peter Deseve, Carter Goodrich, Lou Romano, Teddy Newton and the artists in the independent

A R T S A N D C U L T U R E

suri Dayaratne is a 25-year old Art student at Columbus

College of Art & Design in Columbus, Ohio. With an eye for

striking shapes and colours, and a �air for the intricate and

the �amboyant, Isuri has ambitious plans to pursue a career in

the animation industry. The following are excerpts from a

fascinating interview with her:

I

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How would you describe what you do and what you create?I am an illustrator. The art I create are mainly illustrations and I try to tell stories with them. I would describe my art as cartoony, design-y and humorous. My style is heavily based on shapes and lots of colour.

What's your favorite medium to create your art with?Over the past couple of years that I've been in art school, I've been exposed to several di�erent media. I've worked with traditional media like oil paint, acrylics, watercolour and Gouache, and dry media like pencils, charcoal and cut paper. Recently I have been introduced to digital media painting as well. I've grown to learn and love all these di�erent media, and although I don't have one medium of choice, I usually �nd myself favoring pencils for my initial drawings and acrylics or digital media for a �nished piece of art.

What is your creative process like?I start o� by jotting down ideas. Be it for an assignment at school or a personal piece of art, I always write down all the ideas that pop into my head. Then out of the ideas that I like best, I sketch thumbnails to �gure out how I want my �nal piece to

elbourne Arts Festival, known to be one of the foremost and presti-gious events in the city, was held last October, starting from the 8th

expanding over a period of 15 days. Now, narrowing down the story, we are concerned only about one day, the 14th, when a band from an island shown only as an insigni�cant dot on the world map just below India, outstands above two massive bands; Black Widow from Australia, and the headlining band for the night, Dead Meadow from the USA. Have I got your attention yet?

Stigmata, the �rst root of the Sri Lankan Metal industry; a band with a sound that cannot be de�ned by just naming a genre or two as their wide array of musical incorporations vary from Classic/Hard Rock and Progressive Rock to Flamenco to Sri Lankan Baila to Thrash and Death Metal to orchestrated music, had the opportunity to be a part of the rock night of the festival as a supporting act for the headlining band, Dead Meadow.

The twist comes in here, after the show had �nished and the stage lights were dimmed, no one was 100% sure who the main act was. The reason, because

Stigmata got a full house with over 1000 people, from just standing and watching to pumped up and jumping and head banging and moshing and screaming like it was 2012 the day after.

The set started with their infamous instrumental ‘Andura’ from ‘Hollow Dreams’, followed by ‘Spiral Coma’ the opening track o� their new album ‘Psalms of Conscious Martyrdom’; a song so psycho and overwhelming that it gives more chills and electrical shocks down the spine than the freakiest horror movie you’ve ever watched mixed with the craziest rollercoaster ride you’ve ever experienced. And with them on stage

Stigmata Owns the Full House at

Melbourne Arts

10 DECEMBER 2010 INK MAGAZINE

A R T S A N D C U L T U R E

performing it live, the whole experience is just out of the boundaries of time and space.

PuRer (Libera Nos A Malo), took the audience to the next level with its power and groove and ‘Jazz Theory’ from the second album ‘Silent Chaos Serpentine’ pumped up the crowd after that into such an extent that the entire crowd was making wave like patterns as they were jumping and head banging. ‘Summoning Cry of Aries’ took the crowd to a new dimension of their minds, taking them through an array of di�erent feels and emotions. Then there was one last song

left to be performed, ‘The March of the Saints’; the last track on the new album which is over 11 minutes long, was the equivalent of an orgasmic climax where the lights seemed brighter, the heat of the pumping blood of the fans seemed almost about to burst into �re and �ames, and the screams seemed louder than the PA system. If you ask me, it is what you would call a perfect end.

Yet, that was not quite the end, after the performance Stigmata had made it a point to talk, especially to all the Sri Lankan metal heads that were present at the venue and everyone else. A lot of

Festival 2010smiles, greetings and conversations were shared, and quite frankly, after the performance the fan and peer response was so heartwarming that it felt like they were back home. And as I conclude my little piece of writing, there is only one thought left in my mind: after seeing Stigmata perform, they are de�nitely going to consider making that dot on the map way larger than it is now. And it’s the kind of band that makes our little island called Sri Lanka proud.

The twist comes in here, after the show had finished and the stage lights were dimmed, no one was 100% sure who the main act was. The reason, because Stigmata got a full house with over 1000 people, from just standing and watching to pumped up and jumping and head banging and moshing and screaming like it was 2012 the day after.

M

10 DECEMBER 2010 INK MAGAZINE

What was it like writing Mythil’s Secret? It was thrilling! For the most part. First when the inspiration hit and I started writing. Then each time I went back to it – I was thrilled that I’d actually got a story that seemed more original than my previous hundred or so attempts at writing one! It was such good fun meeting the characters and having them play out their stories in my head. Even editing was enjoyable. I guess the parts that were not such fun were when I wondered whether the e�ort was worth it. Whether the book would just sit in the publisher’s warehouse gathering dust after I’d sacri�ced precious time and energy on something that turned out to be a fool’s errand. I liked the story very much and was always excited about it, but I wasn’t sure other people would �nd it interesting.

I only dared to send those early drafts to trusted friends, so even when they said positive things about the story I wondered whether they were biased.

Roald Dahl has said that writing the �rst page of a book is the hardest part. Do you agree? No, actually I think my �rst page is

almost exactly the same as it was in my �rst draft. It opens with Ammi and Thaththi asking Mythil to leave the room before they start arguing. This is one theme that runs pretty much throughout the story; Mythil’s parents try to shield him from the unpleasant grown-up issues that they have to deal with. But this back�res. Because they don’t tell him what the problems are, Mythil is left guessing. And his imagination makes him believe that things are worse than they are in reality.

What’s the secret to keeping readers entertained?A fast pace, and keeping it ‘real’, no matter what imaginary worlds your characters inhabit – at least that’s what would keep me hooked as a reader.

How do you create interesting characters? I guess you start by caring about them. Even the ‘bad guys’ or the ‘not-so-likeables’. They’ve all got history – at least in the writer’s head, even if all the little back-stories don’t make it into the book.

Just like in real life no one’s all good or all bad all the time. So even the dislikeable characters are only so in that one vignette. There’s good and bad in everyone. Mythil thinks that Bhishani is pure evil. But by the end of the story he realizes that Ianthi loved her, perhaps as much as Mythil loved his own grandmother. So she couldn’t have been all bad.

How do you respond to criticism that the Gratiaen Award should not have been awarded to a children’s book?The judges were pretty clear about that. They described Mythil’s Secret as a book that looks at life from the perspective of youth – so in other words it’s not a book that’s meant for children only. The story certainly does deal with broader issues that would be immediately apparent to an adult reader, even if a younger reader might miss them. I guess that’s the beauty of writing for older children. You don’t need to dumb it down. If it appeals to you as an adult there’s a good chance younger readers will like it too.

Do you feel that writing for children is harder than writing for adults?Writing for older children can be just as demanding as writing for adults. Why wouldn’t it be? There are as many words to be edited, complex subjects to be discussed and fully-developed characters to manage. And while an adult may be prepared to hunker down and get through a slower-paced book I think younger readers have far too many demands on their time to be bothered – so you need to ensure the story is action-packed. You also have to ensure that your reader stays engaged through-out the book, so the action needs to be sustained to the end.

One thing I always look for in a book is a �tting ending. It might be sad or happy but it should follow the logic of the story. And a satisfactory number of loose-ends should be tied up at the end. All this takes planning, whether you’re writing for adults or older children.

One of the characters in the book, Aunty Nilmini, says - “We all have our own demons to battle with”. Is Mythil’s Secret as much to do with reality as it is about folklore?When the book opens Mythil’s parents are going through a tough time trying to deal with the big adult problems in their lives. The easy way out is to run away or to procrastinate – to avoid making a decision or taking action. Mythil is in the same situation – but his problems include both his insecu-rity about his parents and the sudden appearance of the scary supernatural beings that only he can see. Though he resents Aunty Nilmini’s advice that he needs to face his demons, that is exactly what he ends up doing. In facing his demons, the real and the supernatural, he is able to overcome his fear. So the lessons he learns along this journey help him deal with problems in both worlds.

Does Mythil’s Secret re�ect any aspect of your personal life, whether it be childhood, mar-riage, yourself, your child or any other experiences you’ve faced?My grandmothers played a huge role in my childhood. I had just lost one of

them when I started to write this story. So including Mythil’s Achchi in the story was a conscious decision, a way to keep my own grandmother’s memory alive.

Grandparents are a blessing because they’re ever so much more patient than parents. While parents can get caught up in the rat race trying to make ends meet, grandparents usually have wisdom, time and experience on their side. They aren’t under pressure to bring up well-behaved children who are able to compete e�ciently with their peers. Grandparents get the luxury of being able to spoil their grandchildren, guilt-free. So they can be a child’s best ally and friend.

You have shown violence, con�ict and cruelty by the powerful against the weak in your book. Why is this? Being able to sacri�ce your own comfort and sense of well-being for someone else’s bene�t is something that gets harder to do the more you get used to being comfortable; the more you forget what it’s like when you had less control over the things that matter to you in life.

But no matter how powerful you may or may not be, if you can empathise with the other person then self-sacri�ce remains an option that you will seriously consider. This is why Mythil and Asiri are able to make such brave decisions towards the end of the book. They each know what it is like to feel alone and helpless. Perhaps a more secure child like Ianthi may not have been able to make the same choices that the boys do.

Many people �nd creative writ-ing to be therapeutic. Is it the same for you? Oh yes. When I get a story buzzing around in my head I have to write it down, or at least imagine it right to the end in my head. Until that’s done I’m irritable and anti-social.

What can next we expect from you?Possibly another story for the same audience. Probably a story about Mythil, but we’ll have to wait and see.

- Interview by Gihan de Chickera

rashani Rambukwella’s 2009 Gratiaen award winning novel Mythil's Secret can be described as a book of contrasts. Although

presented (and marketed) as ‘children’s �ction’, it stresses on adult and children's issues with equal emphasis. The storyline is �lled with mystical elements and fantasy, but also sustains a touch with reality. Mythil, (the protagonist) battles the supernatural, but also grapples to understand his parent’s marital and �nancial problems. He �ghts yakas (demons), but also learns the value of friendship and family.

The only children's book among the Gratiaen nominees, (the others being The Whirlwind by Ayathurai Santhan, Tangled Threads by Premini Ameras-inghe, Singing of the Angels by T. Arasanayagam, The Mirror of Paradise by Asgar Hussein), Rambukwella’s creation is an easy, smooth-�owing and entertain-ing read. According to the Gratiaen judges, the book is written from the perspective of youth, and could appeal to both children and adults alike. The author agrees. Let’s see what else she has to say about writing, and life …

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Prashani ’sSecrets

Prashani ’sSecrets

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What’s your favorite medium? I don’t have one. I started out with water colors but have moved on to oils and acrylic but I really believe that good artists should be �exible and experiment with di�erent mediums.

What advice would you give young artists? I think young artists should try and take as much advice from their peers as they can; it worked for me and has helped take me a long way.

Got any exhibitions coming up? I’ve got a few planned for next year

- By Lake Argent

When did you know that art was your calling? I’ve been panting since school and I studied art for AL’s because it was what I was good at. It’s hard to say because I think that art is something I’ve done since I can remember and I never had an inclination to follow any other �eld, I think I just always knew.

What was the most frustrating aspect when you started out as an artist? I’ve been incredibly blessed, my family supported me 100% and never had any issues with me taking up art as a career and the encouragement was very important in taking me this far. I never went to Univer-sity but I did study a part time course at the Vibhavi Academy which put me on the right track I’ve been lucky; from starting

out designing batiks to illustrating at an advertising agency, I never had any trouble �nding jobs and I’ve enjoyed my work.

What artists inspire you?Most of my teachers inspired me. I was blessed to be taught by some of the most talented teachers from back in the day like, Douglas Paul, Stanley Abeysinghe, Dominic Ciril and Chandraguptha Thenuwara from the Vibhavi Academy who were my gurus and they provided me with a sound learning and advice which has helped me throughout my career.

What’s your favorite piece of work?That’s a hard one, I think I like them all!

asil Cooray is one of Sri anka’s most celebrated artists, and well known for

his water color paintings that depict Sri Lankan rural life. He’s held 5 solo exhibi-tions to date and his paint-ings adorn the walls of foreign embassies, banks and even the President’s House. This week, Basil speaks to Daily Mirror online about in a brief interview about his love of art.

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anic is spreading through the art world following the discovery of forgeries among major 20th-century paintings sold in recent years by leading

auctioneers and dealers worldwide, including Christie's in London.

More than 30 paintings, thought to be by artists including Max Ernst, Raoul Dufy and Fernand Léger, have been unmasked as forgeries, the Observer has learned. The fakes have duped leading �gures in the art world into parting with at least £30m.Four of the paintings have gone through Christie's, including forgeries of Ernst's La Horde, estimated at £3.5m and eventually sold to the Würth Collection, and André Derain's Bateaux à Collioure, sold for £2m. Six paintings were sold by the leading German auctioneer, Lempertz, one for £2.8m. The forger's strategy appears to have been to create compositions that would relate to the titles of documented works whose whereabouts are not currently known.

Dealers and collectors who have recently acquired works by the artists involved "are shaking over this scandal", one insider said. "They are in a panic over whether their paintings are also forgeries. Everyone's taking a second look." The panic is so acute that collectors are even seeking refunds on unquestionably genuine works.

One expert describes the forgeries as "gold standard". They cover many styles and include works by Heinrich Campen-donk, the German Expressionist. Most are in the style of the particular artist, rather than a direct copy. All are believed to have been painted by a German forger over the past 15 years. Police are now investigating whether that forger is Wolfgang Beltracchi, 59, an artist from Freiburg, aided by his

wife, Helene, 52, and her sister, Susanne, 57 – women described as "great charm-ers". All three are now in police custody. Two men are also being investigated.

The deception involved an invented story about inheriting the paintings from the sisters' grandfather, Werner Jägers.

Dr Nicholas Eastaugh, of Art Access and Research, a leading British expert in scienti�c analysis of paintings, told the Observer that he has seen four of the forgeries and conducted extensive tests on three. The results con�rmed that they contain pigments not available when they were supposed to have been painted. One of the paintings, Campendonk's Rotes Bild Mit Pferden (Red Picture with Horses), was sold in 2006 by Lempertz for a record price.

Eastaugh emphasised that the duped buyer has given him permission to discuss the case. A painted sketch on the back of the canvas – suggesting that the artist

was trying out another idea – is also a forgery. Clues to a painting's provenance, or history, are often found on the back of a painting. Many of the forgeries have fake labels from galleries or collections to give a further authentic touch, suggesting past exhibitions. The Christie's Ernst is said to bear a false label, "Flechtheim Collection", which aroused the suspicions of the distinguished historian and Flechtheim biographer, Ralph Jentsch. Labels on other works suggest they are from the "Jägers Collection".

One duped auctioneer said: "It's signi�cant that these paintings have been through the sale process before they got to me. They must have been su�ciently convinc-ing." The buyer of the Campendonk was Trasteco, a trading company in Malta, which is now claiming back the purchase price. The �rm is one of two collectors represented by Friederike Grä�n von Brühl, a German lawyer at K&L Gates. She said: "For the art world, this is a big scandal. Everyone is shocked."

Christie's London – which handled alleged forgeries that include Campendonk's Girl with a Swan, sold for £67,000, and another painting that fetched £344,000 – said: "We take any doubt surrounding authenticity extremely seriously and are investigating the matter fully."

Rotes Bild mit Pferden (Red Picture with Horses), sold in 2006 as the work of

Heinrich Campendonk, the German Expressionist. Scienti�c tests have now proved

that it is a forgery. Photograph: Dalya Alberge

PArt ExhiitionPrince

Christie's London – which handled alleged forgeries that include Campendonk's Girl with a Swan, sold for £67,000, and another painting that fetched £344,000 – said: "We take any doubt surrounding authenticity extremely seriously and are investigat-ing the matter fully."