Like Claude Monet, Anomaa’s ever changing subject is light itself. Anomaa, however, paints with a camera. Within a photographical context, light is arguably the most powerful instrument capable of conveying the transient nature of a changing world, and with it, changing emotions. In an interesting juxtaposition, Anomaa has chosen to capture permanent landmarks whose emotional associations are as fleeting as the light in which they are portrayed. The featured landmarks, although themselves have barely changed, are in direct connection with a plethora of individuals who have developed many differing feelings towards these landmarks.
Thus, a permanent object, is capable of ‘Becoming’ a multi-faceted concept within the human mind. This concept of ‘Becoming’ is surely demonstrated by Anomaa’s use of colour, formerly employing predominantly black and white images, she will be exhibiting coloured images for the upcoming Biennale.
This use of colour not only represents a new life which has been pulsing through Sri Lanka since the end of the civil war but also a more personal adaptation Anomaa has had to adopt as a photographer.
To the more astute eye, Anomaa’s photographs reveal a far deeper semiotic interpretation of Sri Lankan culture than a passing glance would have us believe. Her utilisation of symbolism is used to great affect to embellish an already extensive knowledge of differing national customs. What is important to remember though is how our own reading of Anomaa’s subtle semiotics give her work an even deeper sense of ‘Becoming’, after all, a symbolic reading will vary from person to person. We have the power to make her work ‘Become’ something entirely different.
This personal touch really gives Anomaa a connection to the people of Sri Lanka, a touch she plans to re-create during the Biennale when her astounding photography reaches out to whole communities at a time, bringing people together for the 2012 Colombo Art Biennale!