Prasadani Kumari

Born in 1990, Sri Lankan contemporary visual artist works primarily with painting and mixed media, using abstraction as a means to explore themes of self, memory, healing, and emotional transformation. Her practice is deeply introspective, engaging with psychological states and lived experiences while situating the personal within broader cultural and social contexts. Introspection, in her work, becomes both an individual act and a shared human condition.

She received her formal education in visual art at the University of the Visual and Performing Arts, Sri Lanka, and further developed her studio practice at the Vibhavi Academy of Fine Arts. She later completed a Master of Fine Arts at the University of Kelaniya. This academic grounding provided a strong foundation in drawing and painting alongside sustained engagement with conceptual inquiry. During her studies, she cultivated a strong interest in research-based practice, material experimentation, and process-driven methodologies, all of which continue to inform her work today. Intuition and emotional responsiveness coexist with reflection and critical awareness in her artistic approach.

Currently based in Sri Lanka, she maintains an active studio practice while participating in exhibitions, studio initiatives, and collaborative projects. Her cultural and geographical environment plays a significant role in shaping her sensitivity to identity, memory, and place. Through layered surfaces, repeated gestures, and subtle shifts in colour and texture, her paintings evoke inner landscapes shaped by personal experience, vulnerability, and ongoing transformation.

Her practice has received professional recognition through awards and acknowledgements that have supported her growth as an emerging artist and enabled participation in diverse exhibition contexts. Notable exhibitions include Pulse (2022) and Mirror Mirror (2023), both of which explored emotional intensity, reflection, and the fragmented nature of the self. She has also participated in international exhibitions such as the PARIS Art Fair (2023) and art camps in Nepal (2025), contributing to cross-cultural exchange within the South Asian contemporary art scene.

At the core of her practice is a commitment to authentic self-expression. Drawing and painting, which began as an early and deeply personal necessity, continue to function as tools for preserving an inner voice amid external pressures. Through her evolving body of work, she positions painting as a reflective, healing, and transformative practice within contemporary South Asian art discourse.