Connecting

fascination comes apart
when lovers meet
where do they start
missed phone calls
unread texts
forget the bullshit
snooker the rest

games played
only one
what is left
is the noonday sun.
drunken glasses
evening’s come
forget the masses
where is the fun?

sleepless nights
naked in bed
tossing and turning
politics unfed
desire vanishes
struggles to remain
what once was
is no one’s gain

Dream House

She worked with architects and saw many houses. First, it was in the looking and in the answering of a question thrown here or there by the lead architect of the group. She wasn’t quite taken with the houses she saw- and once in a while she was stumped by a question asked of her. “What makes the acoustics so good in this house?’? Why don’t the stairs have a bannister to hold onto? She thought she knew the answers to the questions, but wasn’t ready to answer—there was something in each question that she questioned. For instance; “why wasn’t there a bannister for the stairs? She could not (yet) understand why an architect would forego practicality and safety for beauty of line and aesthetics. She mentioned that to the head architect, who erroneously told her she was stupid and if she was going to question a left out bannister, she was nowhere ready to become an architect! She took umbrage to that and decided to leave his apprentice and apply to join another. He was angry, or rather his ego was hurt, that he let her go without writing a recommendation. She left, and in a week, she was snapped up by her former bosses rival architectural practice. That very day after a breakfast meeting of coffee (delivered from Kopi Kade) and donuts: glazed, sugared and in a multitude of colours) he told his students that he was taking them to visit some houses that he had designed along with his partner. Standard practice she thought and on her very first day as well. They drove down the streets of Colombo, until they were in Colombo 3. The driver turned right on Damien place and pulled over to the right halfway down the street. That was the defining moment when Julie saw her dream house. She could tell by the quake in her knees, the butterflies at the pit of her stomach and the goose pimples all over her body. She got out of the car and closed the door and walked slowly to the front door.

 

 

wedged heart

Deep in my heart a wedge does lie
I’m willing to throw a dart to hit it clean and fair
Instead I breathe, breathe deeply and sigh
The cause of the wedge is mine—let’s try.

Was it the afternoon I drove back from Galle?
Hail! Thunder and Lightning quite a scare
Voice on the radio warning us to go with care.
the highway is dangerous to drive anywhere.

Wait! is the wedge my children? My poor mother, too.
My husband, Dom, my in laws? ‘How do you do?’
A lost love, another life, what could have been?
it’s  bittersweet now, all that I have seen…

The wedge comes and goes. Today it sticks, like a thorn to a rose.
Tears pour down my face, I am thankful for god’s grace.
To analyze the pain, sitting in the car in the rain
One goes back in time, breathes, the mind arace.

To gratitude: of course, I’m grateful! So what if I’m Fey?
The wedge is lodged, embedded deep. I long for the comfort of sleep
Not yet, not there, the exit is quite far. Stay awake!
Don’t fall asleep. Keep breathing the wedge out, however deep.

At last the exit, I take the turn, drive to the booth to stop.
Pay my toll and on my way, keep breathing the hardness away
And suddenly, I am aware, that this feeling of a wedge
has disappeared, is not there?  was it the stress of the drive?

Maybe. Could be, should be, yes! Driving is difficult
When one can barely see, the car in front, the road, a tree.
The rain is ceasing, the breathing is easy
At last: Home. the dog runs to greet me.

Unpack my bag get on the mat
Do a few yoga poses, here comes the cat!
5 kittens to feed all are shivering.
My body feels better, no more dithering

I draw a bath then into bed, take meds, then cover.
Dream of mayhem and accidents oh what a shower!
I suddenly wake up to another day. Stretch and yawn.
The wedge has gone, the sun shines bright. Oh how I love, love, love the light.

N.S.  APRIL 15, 2018

 

The SPIRITUAL Artist

druvinka (1) (1) 5*6

Druvinka 2017B

The Spiritual Aritist
Born in 1971, She was sent to art school as she was considered an introvert. She placed herself in a corner in order not to show her work;  never happy with her paintings, she used to hide her works of art.
She was inspired by Cora Abrahams and Nilanthi Weereratne-she was inspired by the conversations she had with them about art and books. (fascinating)
(Anjalendran was a big fan especially during her early years, He sold a lot of her paintings during that time.)
Cora Abraham, a famous art teacher in Colombo took her in as a special child, because her father was in the military.
Druvinka was introduced to many artists and their work by Ms. Abraham; she especially liked TURNER. His paintings of landscapes and the sea — she thought his paintings very mysterious– She was given blank canvases by Cora who said, “Be Free, Druvinka. Be Free! Express yourself!
Druvinka showed exceptional control and hand movement. It was then that her work went up on the walls and was exhibited in a small way.
She had her first solo exhibition at the Galadari Meridian. Arlene (her mum) and Druvinka organized an exhibition because she got a lot of praise and encouragement from her teachers, mentors, peers and other artists. She spent some time in Manchester, she submitted her portfolio of landscapes and was accepted (Manchester University, Portfolio of Landscapes. )
She graduated from Visaka, went to Manchester and then applied to Shanthineketan (got in and went) Why paint and make a living? “Because even if I have to be on the road I will try and make it” to the best of my ability. When she draws the character, the essence, of her inspired content comes through, other than a photographic message. I cannot get rid of the innermost feelings even now. Soul, essence and skill. Unlike early on, she is not at all inhibited by society or shyness.
Druvinka is spontaneous in her approach to her art, never scared of pressing oil colour onto canvas until something comes up. She paints in layers.
“Shanthineketen showed me the truth; India, Incredible India. One cannot bullshit your way through. Out went cushioning, the comfort of Colombo – In India she confronted reality – Felt small. A nobody. So you have to make it work. A survivor. Classmates left me alone, batch mates never exhibited, but Druvinka had experience. She kept to herself gathering information (an introvert) I didn’t know anything, spoke only when she knew the answers.
Druvinka is now secure in her art.—At Shanthineketen she met her husband, Bodh, a super artist and teacher, who controlled her totally. Bodh and a few others, made up a group called “We are International 1998.” They projected their work onto city walls and trees.
You are a great artist, I think you should work” You are a working artist, Bodh criticized her work, made her work, to make it better. She exhibited at the Lionel Wendt in 1995 and 1996. Druvinka is competent in pottery, sculpture, printmaking, textile design, painting, history of art, western, far eastern, and indian.
Druvinka chose to exhibit at Gallery 706 in 1996 where she showed her Embryo series.
This was soon followed by:
· Refugee series
· Karmic forces,
· Rising
· Lingam
· Beneath beyond
For Druvinka the process is crucial. She paints on raw canvas, bamboo paper, and rice paper. She paints  gods, goddesses, the universe, the afterlife. These ideas, these expansive themes are weighty to comprehend. To try and fit them in it is essential that she uses large canvases. The largest Barefoot has exhibited are paintings 15ft * 6ft. in size. Not for the faint-hearted.
Today, she paints on 1*1 canvases and paper but only for practical reasons. Even though the work is small, the concepts remain large.
1) Magic
2) Tantric
Without the darkness there is no light, dark and light work together — however, dark –eventually light comes out. However much you play with dark, the dark is only used for light to shine. Light is powerful it has to come. Think Leonard Cohen: There is a crack in everything, that’s how the light gets in.
I have learnt through my Sadana to keep nothing inside, only the moment of being, so it is to becoming childlike, wisdom with no knowledge, It’s not possible to connect with the spirit world without being empty.
I no longer paint but only my body is used as an instrument for channeling from above, to the canvas, so whatever appears is original and a message. Pathal means the underworld… one of the three worlds
Sadana is sacrificing certain things in life and sitting in meditation till you achieve something that you were searching for. Tantra is `connected to dark and light and represents the cycle of life, which is called: Samsara.
Whatever Druvinka indulges in comes out in her paintings.
The 5 elements: water, earth, sky, fire and air, this is the magic and god. That’s what we are made of in illusionary world. The universal truth is Satyam, Shivom, and Sundaram.
Satyam means truth, Shivom is never dying soul, and Sundaram is the beauty of it all.
The spiritual and happy artist; DRUVINKA.
Nazreen Sansoni as told to by Druvinka.
December 2017

 

 

Werewolf in Nuwara Eliya

That night in Nuwara Eliya
When Dom and I stumbled
Into the Grand, we had just re-met
And every moment was precious.
It took us ten minutes to find the bar
It was cold for Nuwara eliya and we
Needed a drink, desperately.
A single malt for Dom and a Port
For me. This was in 1993,

I turned towards the barman to place our order
And stopped, shocked. Next to us was the most
Extraordinary man I had ever seen, he was approx.
7ft tall. His ears were pointy, nearly as large as his head
A beard that tapered to a degree
His sideburns, thick, wide, designed
Angled to his mouth
A sweet smile. It was disconcerting.
Basically, your friendly neighborhood werewolf.
He bought us a round of drinks and
Seemed very glad to meet us.
We drank with him up to a point.

Said our goodbyes
And staggered outside into a sea
Of mist. It must have been midnight
the moon was full.
Shining bright with light
To show us the way
To the car-
we drunkenly
Drove the windy
Road back to the club.

Quietly distressed by the
Meeting of the man
Who looked like a wolf.

 

N.S.

June 2017

 

Machine I loved

A low slung Volks

turbo charged, fast

(naturally)

did 130 miles on

the Arugumbay

Moneragala road

‘A poor man’s porsche’

my friend said.

Leonard Cohen crooning

as we looked

at the mountains

whizzing by

light poured in

the driver seat

comfortable enough to

race in.

I down shifted to third

then, back to fourth, fifth

as we turned the corner

on two wheels

the car did a one eighty

and smashed against

the hillside

we poured out

stunned, bruised, bleeding

we were ok

the car ok, too

German engineering

I thought

I loved this car

I was biased

Thank god we weren’t

driving the Prius.

NS FEB 13, 2017