VP Vasuhan is a Sri Lankan artist whose journey through life, from his early years in Jaffna to his artistic explorations in Paris, has shaped his unique style and perspective. Born in 1977 in the village of Alaveddy, Jaffna, Vasuhan was surrounded by traditional arts from a young age. His grandfather, an agriculturist, and the local culture deeply influenced him, exposing him to religious paintings, embroidery, pottery, and kolam designs.
His education at Mahajana College, Thellippalai, further nurtured his artistic talents, and upon moving to Colombo in the 1990s due to the ethnic conflict, Vasuhan’s artistic horizons expanded. He explored the local art scene, discovering frescoes, batik, and developing his skills in watercolor.
In 1996, he moved to Cyprus to study hotel management but found his true calling in art under the mentorship of Glyn Hughes, a Welsh painter and art critic. This period marked a significant shift in Vasuhan’s artistic journey as he delved into portraiture and figurative painting, organizing exhibitions and immersing himself in the Mediterranean culture.
Arriving in France in 2001, Vasuhan faced challenges as a refugee but persisted in his artistic pursuits. His first solo exhibition, “No Name, No Face,” in 2004, marked a turning point in his career. He continued to exhibit in France and studied documentary filmmaking, reflecting his deep connection to his homeland and the struggles of his people.
Vasuhan’s art is a testament to his diverse experiences and influences, from the traditional arts of Jaffna to the cosmopolitan environments of Colombo, Cyprus, and Paris. His works often explore themes of identity, displacement, and cultural heritage, resonating with audiences worldwide.
VP Vasuhan’s work “Title: Catamaran = Navigation attempts and exile” is a powerful exploration of the human journey, migration, and cultural hybridity. The installation, a performance and permanent piece at KREOL West Indies Art Gallery in Saint-François, Guadeloupe, delves into the history of navigation and the diasporic experiences of people from Southern India, Africa, and indigenous Caribbean communities.
The term “Catamaran” itself is a nod to the wooden boats used for navigation, ingeniously constructed by tying together various types of wood with coconut fiber cords. This technique, using tec, mango, and coconut wood, is a testament to human ingenuity and the shared knowledge of seafaring cultures.
The choice of materials in the installation is deeply symbolic. The three types of wood—earth-colored, ebony, and red—represent the Tamils, Africans, and indigenous people, respectively. These woods are bound together by coconut fiber cords, symbolizing the interconnectedness of cultures and the formation of new identities over time.
The use of burnt sugar, Sri Lankan tea and coffee, sacred ash, and betel juice as mediums adds layers of meaning. The sacred ash-coated woods represent hidden or forgotten stories, while the curry powder symbolizes culinary traditions and protective rituals. The figures drawn with white rice powder, known as KOLAM, are a nod to the cultural roots of the people represented.
The inclusion of sun yellow paint on the top of the wood is a striking addition, symbolizing hope and the journey towards permanence. The coins thrown on the catamaran evoke Greek culture, adding another layer of historical and cultural depth.
Vasuhan’s choice of materials, sourced from Guadeloupe and small African, Indian, and Sri Lankan grocery shops in Paris, highlights the global nature of migration and diaspora. The ephemeral nature of the installation, with its faces and catamaran (kolam), serves as a reminder of the impermanence of human life and the transitory nature of cultural traditions.
The installation’s placement at KREOL West Indies Art Gallery, located near the Atlantic coast, is significant. It serves as a poignant reminder of the island’s history and the memories and legacies of its people. By engaging with themes of navigation, migration, and cultural exchange, Vasuhan’s work invites viewers to reflect on their own origins and the shared experiences of diaspora communities.
