Tissa de Alwis - Potter, Ceramist and Modeller 

It is considered ordinary for our taste and interests to constantly evolve. Therefore not many of us can claim that we harbour the same fascinations we had as children. Tissa de Alwis, on the other hand has harnessed and maintained his intrigue for war history for over four decades. Meticulously detailed, his intricate miniature figurines have garnered him a significant amount of attention both in the local and international art circles. He has selectively showcased his work abroad in coveted exhibitions such as the 3rd Asia-Pacific Triennial in Queensland in 1999, the 1st Fukuoka Triennial in 1999 and in 2002 the ´Crafty Thoughts´ exhibition in Liverpool which presented contemporary artists from Sri Lanka. 

Despite having no formal training in art “Everything I have learnt is self-taught”, his expertise in various fields of crafts has been consulted by many professional bodies from various industries for years. 

What is your creative process like? 

I have a lot of works that can be called ‘works in progress’ – which means that I have worked on them for over a decade. If I need to display an example to my students, then I create one overnight. But generally most of my work is a result of years of labour. 

The themes you use are essentially based on military history. What in particular fascinates you about it? 

My fascination for military history began since I was a boy. At that time we had war comics which were quite popular (it captured mostly of the Second World War) and this was my introduction to military history. The images found in these comics were perfectly illustrated. These were like the video games back then. 

The nature of your work is such that it perhaps could be construed that you are politically influenced. Are you? 

If you see my work in a political context, that is entirely your perspective. I do not think politically when I am creating a particular work neither do I create it based on a political idea. I in fact shun away from it. There are artists who focus on the socio-political factor and I have no objection to that. But that isn’t me. 

You are also a teacher. Has that had an effect on your work? 

I am teacher. I teach clay modelling, pottery making and ceramics. It is a very fulfilling profession. One of my students had a solo exhibition and it was a very proud moment for me. It is also very inspiring and in that sense it has an effect on my work. Also my perceptive students rightfully pointed out that working with clay is therapeutic. You are always learning something when you teach. 

What is your most preferred medium? 

I enjoy working with clay. I like to make works that last, so I take necessary steps like using wiring and so on. However I do not hesitate to mix things up. While walking on the road if I see any rusted metal bits, I do not hesitate in picking them up and including it in my work. 

Any particular artist or artists who influence you? 

Quite a few actually. To start with Charles Russell, Fredric Remington and George Catlin directly influence me. Sometimes someone who has studied these artists would look at my work and say “hey that’s a Russell horse!” I am a great fan of Vermeer, I am fascinated by what he did with colour. 

Are there any local artists you admire? 

My favourite Sri Lankan artists are Laki Senanayake, and then Justin Daraniyagala and Manjusiri of the 43 group. I also really like Pala Pothupitiye’s work. 

What are your views on the local art market? 

I would say it is in a state of transition. It is also becoming in certain sense. Here in Sri Lanka, art is more often represented by commercial galleries and of course that means price manipulation is implied. This is what makes the Galleries of the Sapumal Foundation unique. 

Has your work advanced over the years? 

I think it has. I got this simple idea where I take the figures to a particular location and arrange them (almost) reflective of the actual battle scene and take photographs of the scenario. The photograph itself conveys a story. I like to make short movies, (I’ve made one before, which unfortunately got stolen in Amsterdam). I am more in to stop motion rather than CGI, I find the story-telling quality much better in stock motion. 

What challenges do you or have you faced as an artist? 

I have a very supportive family, therefore I wouldn’t say I have had any detrimental challenges. I do control 90% of the output of my work. There are certain economic setbacks but as an artist in this day and age, you have to learn to market your work. 

Any future plans? 

Well in the near future there is an exhibition coming up at the Galleries of Sapumal Foundation. I will be exhibiting with Shehan Madawela and Pinki Madawela, both very gifted artists.  I will also (as I said before) move in to stop motion. There is definitely something to look forward too. 

Tissa de Alwis along with Shehan Madawela and Pinki Madawela will be exhibiting at the Galleries of Sapumal Foundation from the 18th of March – 22nd of March between 10 a.m – 6.00 p.m. 

By Shazzana Hamid