Druvinka: A Creation Story

To paint, as to produce any work of art, is to engage in an act of creation. In Druvinka’s work, creation itself becomes the subject. Her large-scale abstract paintings speak of inspiration, gestation, and genesis. On these canvases, she evokes the very sources of life, both human and divine.
Born in Sri Lanka and now based in northern India, Druvinka has over the past two decades developed a distinctive body of work devoted to the deepest mysteries of the human experience, and the transcendent realms beyond. Washes of watercolor and tempera sweep across bamboo paper; acrylic paint is built up in layers. Out of these watery depths, geometric and figurative forms seem to emerge and dissolve. There are recurring themes: the dark slit of a yoni, the imposing obelisk of the lingam. There are spherical bodies—be they ova or planets—concentric rings, and shadowy penumbra. In some works, liquid stains spread across dark, cosmic fields. In others, tangled forms writhe in a static explosion, as if the artist has distilled the chaos of birth in paint.
A retrospective look at Druvinka’s oeuvre reveals a clear evolution. Ten years ago, her canvases exhibited tight control: flat planes and square edged boxes constrained a swirling universe, like narrow windows onto outer space. In works from this period (DM 005.JPG), there’s a sense of foreboding, as if these alien forms could swing out of orbit unless they were kept hemmed in, locked beneath layers of acrylic paint. Druvinka’s perspective in these works is remote, as if she wants to maintain a safe distance from her subject.
Over the next two years, her style relaxes and softens. Her forms become looser and freer, and the perspective draws closer to reveal overlapping, translucent forms where once there were stark, opaque boundaries. The image of the yoni or vulva appears again and again, central and distinct (DSC00652). Her palette darkens, almost as if the viewer is being drawn into an underground cavern where shadowy forms overlap and merge. The paintings of this period are pregnant with longing.
And then in 2007, as if bound by some mysterious process of creative gestation, Druvinka’s canvasses begin to feature a proliferation of pale limbs, a nearly human figure. Her palette shifts from brown and green to crimson and orange (DSC00214). Gone is the quality of fear and constraint, replaced with an almost maternal confidence. That confidence remains in her more recent works, where her mastery of both form and medium is evident. In works from 2009, clear figures surface out of the layers of paint and paper: Ganesh floats in the foreground or peeks out from some dark opening, while serpents snake their way around the perimeter. Even the phallus has taken on a new quality of realism, as if the artist has allowed these symbols to rise from the level of the unconscious.
Take for example an untitled work from 2009 (DS_090303_9109.JPG). Here, the thick, dark body of a snake winds its way around the frame, while the elephant hovers ghost-like at the center. At the base of this mythic dreamscape appears a male member split by a leaf-shaped cavity: a merging of masculine and feminine. At the upper left, the phallus appears again, as ghostly as a palimpsest. No longer hidden or resisted as in earlier work, these forms appear organic, as if they have emerged without effort or calculation.
In her most recent works, deities and human figures feature prominently, though always against a backdrop of liquid shadows and cloudy dreamscapes. Her once relentlessly dark palette has lightened to mauves and pinks, creams and yellows; there’s a new emphasis on the divine feminine: Lakshmi hovers here and there, her neck garlanded with serpents.
Though many of Druvinka’s symbols stem from Hindu mythology, it would be reductive to read her paintings as emblematic of one religious tradition. To linger with these works is to bear witness to stories that are at once deeply personal and universal—stories that resonate across cultures and ethnicities, creeds and eras. In this way, Druvinka conjures a new world, drawing from many traditions to forge a vision distinct and unmistakable: a world that suggests nothing less than the whole of creation.

-Elizabeth Schwyzer
Arts writer, Santa Barbara, California, USA

Druvinka: A Painting

Druvinka: A Painting, originally uploaded by nazreen.sansoni.

Exhibition will remain open at the Barefoot Gallery until the end of

Druvinka is an established artist who has held exhibitions around the world. Born in Sri Lanka, she currently resides and paints in Himachal Pradesh, India with her two sons, Tashi and Drona. We are very pleased to present her 13th exhibition of paintings, which may very well be the peak of her working life so far.

The canvases speak with the assuredness of an artist who has found her place. The darkness and suffering implied in her earlier works – staggeringly beautiful as it was – is disappearing. In this collection, we sense hope; witness glimpses of a new beginning, an absolute control of form, a show of mastery. Each layer of water-based paint is visible on the canvas. Any line unappreciated in the process of painting gets incorporated into the work. Druvinka will use it; such is her practical command of the tempera technique. It is interesting to see an old technique delivered in such a contemporary manner, this will appeal to art lovers who tire of the conceptual installations that are exhibited and are searching for something new and exciting on a painting. Druvinka’s work delivers.

Other than the lingam and the yoni ( that everyone else is running away from ) Druvinka has introduced two new forms in this collection: The Snake and Lord Ganesh. The snake is there for protection, and for the intrigue of its moving shape. Druvinka lives in Shiva’s valley, where snakes are considered nature spirits. They bring rain and fertility and are only malevolent to humans when they have been mistreated. Ganesh represents the vehicle to transport you from one life experience to another and invokes the intellect and wisdom. Our friendly ‘remover of obstacles’ dances on the canvases with his feature serpent. Druvinka is on the threshold of new beginnings- in her work and in her life.