Kosala Gunasinghe a.k.a. Kos Cos is a multidisciplinary, experimental artist from Sri Lanka based in Hong Kong. His artistic practice is focused mostly on abstract painting and he observes his personal outlook, exploring themes of society, gender, and the contradictions of traditional values by modern day liberated standards of the digital age.
Kos's highly experimental work of art is a fair example to prove the basic fact in Art that just only the aesthetic beauty does not make it a work of art but it should be a selective recreation of reality for the purpose of communicating some aspect of what it means to be human or how we perceive the world.
Understanding Kos's work of art is easy: all it requires is an open mind and a big imagination. Swirling shapes, an array of colorful figurative patterns, or maybe pure energy and cosmic flow are common in his expression. As he explains it was a conscious decision he made to follow experimental, abstract style in his art.
"I choose to express my creativity by creating a visual experience that is freer and more unencumbered by the weight of objects," Kos says.
This is an exclusive interview done by Aartzy with Kos Cos about his exciting artistic journey:
Could you please recall the beginning of your journey as a painter?
I consider myself lucky to have been born to my parents. I had a normal childhood just like other kids growing up in the suburbs of Colombo, Sri Lanka during the late 70's to mid-80's. Life was slow-paced and simple - with lots of greenery and nature. In my mid-teens we moved to Mount Lavinia which is a coastal town: that is where I developed my relationship with the sea. I still love the sea and my childhood obsession with the sea, drew me to live close to the sea when I grew up!
My parents wanted me to be an engineer, so they pushed me into related studies - and not for art. So, I never studied art formally, although later, my father sent me to one of his friends - an artist - to learn political cartooning. However, my home front was always a creative space and influenced me greatly. My mother used to make patchwork using textiles in her free time... those colorful pieces definitely influenced my use of color today.
Sadly, that was the end of the era of hand-painted outdoor billboards and everything went digital thereafter. I believe I was extremely fortunate to have that exposure to watch and learn. Looking back, those outdoor billboards were a heavy influence on my early portrait works.
You are a Sri Lankan born artist operating from Hong Kong. What made you shift there?
I was not planning on moving to HK; it was an opportunity that came out of the blue. One day I received a call from one of my best friends, who used to work at the same advertising agency as me in Sri Lanka. He asked me if I would like to come and work in Hong Kong. I said yes and told my parents that I was going away for two years. So here I am, in Hong Kong — and it has been 21 years now!
When I came here, Hong Kong was at the peak of advertising at that time, with agencies producing world renowned, award-winning creative ads. It was also much ahead in Multimedia and Web, which was a new learning area for me with new software and a new way of thinking to work with this new media.
Even at that time, Hong Kong was Asia's top Art Hub with many international and local galleries, artists, and exhibitions. This was a lot of exposure for a young artist and I feel it greatly influenced my artworks. Personally, it was a big change in scenery compared to Colombo. It was a great opportunity to learn, to experiment, and to grow as a person.
With the massive expansion of digital and social media, I felt it was the end of creativity in the advertising industry. It was at that time when I decided to return to my canvases to express myself without boundaries. About eight years ago, I was fortunate to have my work recognized by a gallery in Hong Kong, and that began my journey as a full-time artist.
Who are your greatest influences?
Artistically, Norman Rockwell was a great influence during my childhood, but then as I grew up my influences changed from Andy Warhol, Henri Matisse, Edgar Degas, Basquiat, and George Condo. Right now, my biggest influence is Howard Hodgkin.
Do you have a formal education in Art or are you self-taught?
I did not go to any art school. Even though art was one of the subjects that I liked the most when I was young, it was never presented to me as a serious career. I studied cartooning under one of the top cartoonists at that time — Mr. S. C. Opatha, a friend of my father’s. The rest is self-taught. There are both advantages and disadvantages of being a self-taught artist. Formal education could have saved me from technical mistakes, but self-learning gave me the liberty to experiment and find my own voice.
You have worked in both advertising and film before establishing yourself as a painter. How did these industries affect your painting career?
When I started my first job in advertising at Bates Strategic in Sri Lanka, advertising used to be a very glamorous and creative industry. Later, I moved to Hong Kong where I got the opportunity to work in the film industry, which was fun and inspiring.
With the rise of digital and social media, I realized that creativity was starting to fade away from the advertising industry. It was then that I decided to return to my canvas to express myself without boundaries. Around eight years ago, my work was recognized by a gallery in Hong Kong, and since then I’ve showcased regularly in galleries across Hong Kong and the United Kingdom.
It is evident that you follow a dominant yet free style in most of your work. Have you arrived at a conclusion about your style?
Yes, I have experimented with many different styles over the past few years and found that a dominant, bold, and free style represents me the most.
You’ve shown skill in acrylics, oil, and charcoal. Which medium do you like the most and why?
All mediums have their own advantages, but oil paint is my main medium. I love it for its flexibility, vibrancy, and durability — and even the smell energizes me. However, I still start with charcoal sketches or sometimes acrylics as a base color.
Can you walk us through your process? How much time do you spend preparing versus painting?
I would say it’s 70/30. I spend about 70% of the time on research, studying, and preparation — and 30% on the actual painting. Preparation is crucial for me; once I start, the canvas flows naturally.
Do you have a particular audience or market in mind when you paint?
I do not like to limit myself by thinking of a specific audience. For me, painting is freedom of expression — so I always keep my creative process open and unbounded.
Was there a moment where you felt your skills crossed into being an exceptionally good painter?
I’m not sure I’d call myself “exceptionally good.” It’s an ongoing process of finding my own voice. I always try to push my limits, explore new subjects, and grow continuously as an artist.
Could you share some master paintings of the past that you admire most?
- “Two Dancers Resting” by Edgar Degas
- “Heavy Red” by Wassily Kandinsky
- “The Painter’s Music, The Musician’s Art” by Kenneth Noland
- “Patrick in Italy” by Howard Hodgkin
- “Night and Day” by Howard Hodgkin
How has your experience been working with Aartzy? Do you think it is a useful platform for artists?
I have been working with Aartzy for almost one year. I am excited and impressed with the very professional and hands-on approach. The team is incredibly supportive and responsive. At the center of this family is Janaka, a passionate art lover who deserves appreciation.
The worldwide exposure an artist can get through Aartzy’s online platform is huge. Being a newcomer, I look forward to a fruitful collaboration ahead. In that aspect, Aartzy provides a huge opportunity for artists by creating visibility for their work internationally. A platform like this is especially valuable today.
Aartzy, 2020
