eadekunst
Drawings & metal sculpture
Every line a breath
“I use my welding torch as a paintbrush.”eadekunst
The collection
Sensory Realism
Five senses. Infinite interpretations.
Open a piece to read its story and see the sketch it was born from.
We do not simply see; we perceive. The eye encounters the world while the mind completes the picture.
Listening is not simply an activity of the ear but an activity of awareness. Beyond the sounds of the world, can you hear the sound of your own mind?
Taste appears to begin with the tongue, but perhaps it does not end there. What does this experience create within me?
We rarely see smell, yet it can transform an experience. Perhaps we do not merely smell the world; the world enters us through smell.
We touch and we are touched. Are we merely touching life, or are we truly present enough to experience it?
Oculus
Seeing the World. Observing the Mind
We often believe that seeing is simple: light enters the eyes, an image appears and we call it reality. Yet, between the eye and our experience of the world a deeper process unfolds. We do not simply see; we perceive. The mind recognizes, compares, remembers, judges and assigns meaning to what we encounter. Consequently, different people can experience the same image differently, shaped by their memories, emotions, expectations, and assumptions. This raises an essential question: Am I seeing reality or am I seeing my interpretation of reality?
There is a moment before interpretation, when a shape appears, a colour emerges or light touches the eye. Before the mind labels something beautiful, unpleasant, familiar or threatening, there is simply seeing. Through meditation and metacognition, I have learned to observe this process, noticing not only my thoughts but also how they arise. In the quietness of an uncluttered mind, I began recognizing how the past influences the present, revealing that the eye encounters the world while the mind completes the picture.
Observing this process creates a space between what I see and what I believe I see. Within that space, awareness becomes possible. Rather than immediately reacting to an experience, I can observe the reaction itself, examine its origins and recognize that my first interpretation may not represent the whole truth. This awareness allows me to engage with life more consciously, without being entirely controlled by automatic judgments.
Certain images awaken memories, emotions, attraction or aversion long after we have looked away. I understand this as resonance, the inner response that emerges when something we encounter connects with something already within us. Through mindfulness, we can observe how sensory contact develops into feelings, thoughts and reactions before becoming another pattern of attachment. Sight also reveals impermanence. Faces change, objects decay, landscapes transform and our interpretations evolve. Recognizing this constant movement allows us to experience the world with greater openness.
I use the expression high frequency as a spiritual and philosophical metaphor for refined awareness, clarity, compassion, presence and freedom from unnecessary judgment, rather than as a scientifically established frequency of consciousness. This refinement does not require becoming extraordinary but becoming more conscious of what is already happening. Perhaps an unconditioned gaze is not one without knowledge but one that recognizes the limitations of its own understanding.
Oculus representing Sight embodies this journey, presenting the eye as a threshold between the outer world and inner awareness. Its reflective surfaces, imperfections and depth evoke the relationship between appearance and the experiences hidden beneath it. The sculpture invites the viewer to look beyond the visible form and become aware of the one who is looking. Perhaps the transformation begins not by changing what we see but by becoming conscious of the mind through which we see it.
Susurrus
The Silence Within Every Sound
I once understood sound as something arriving from outside through voices, music, rain and the movement of the world. Through meditation and mindfulness, however, I gradually discovered that listening is not simply an activity of the ear but an activity of awareness. As my mind settled, I began noticing not only the sounds around me but also the thoughts, emotions and reactions they awakened within me.
Sound is invisible, yet its impressions can remain long after it disappears. A familiar voice can bring comfort, a song can awaken forgotten memories and a single word can influence our emotions for years. Although the sound itself remains unchanged, each person experiences it differently through personal memories, expectations and emotions. This led me to explore the boundary between hearing a sound and the meaning the mind gives it.
Through meditation, I began observing how a sound appears, a judgment follows and an emotion develops, often before I consciously recognize the process. By witnessing these reactions without immediately becoming absorbed in them, I discovered a space between sensation and response. Within this space, awareness grows and the possibility of choice emerges. I began understanding that I am not every thought, emotion or interpretation arising within me but also the awareness that observes them.
Sound connects the present with the past, awakening memories and emotions that seem to transcend time. It influences the body, shaping feelings of comfort, tension, and stillness. Through conscious listening, I explore a more balanced relationship with these experiences. For me, raising my vibration means becoming more present, attentive and aware rather than escaping ordinary life.
As I listen more deeply, silence becomes equally meaningful. It is not merely the absence of sound but an opportunity to notice what often remains hidden, including the subtle movements of the mind. In this quietness, listening becomes a journey toward understanding how I experience reality.
As a sculptor, I seek to give this invisible experience a physical presence. Through metal, curves, reflections, and negative space, I explore how a silent sculpture can suggest resonance without literally representing sound. I hope the artwork becomes a threshold through which viewers encounter their own memories, emotions, and inner rhythms.
Every sound eventually disappears, yet its effects may remain. My exploration returns to meditation, where listening becomes a journey inward. Susurrus remains silent but I hope it awakens a question within the viewer: What are you hearing now? Beyond the sounds of the world, can you hear the sound of your own mind?
Apigustia
The Taste of Inner Reality
Taste appears to begin with the tongue, but perhaps it does not end there. A sensation arrives and before I decide whether it is pleasant or unpleasant, the body receives it, the mind recognizes it and a story begins to unfold. Through meditation, I have learned to observe the space between experience and reaction. By clearing my mind and allowing an inner void to remain unfilled, I become more aware of thoughts, sensations and emotions that usually pass unnoticed. Taste becomes a doorway through which this awareness emerges.
The same flavor can create different experiences depending on our moods, memories, expectations and circumstances. A familiar taste may return us to childhood, recall a person or awaken emotions whose origins remain unclear. The tongue receives the sensation but the mind expands it into a personal experience. Sensation becomes recognition, memory, emotion, and thought, offering an opportunity for awareness. Our experience is shaped not only by physical sensations but also by the meanings our minds attach to them.
Taste also reveals the movements of desire. Pleasure encourages us to seek more, while discomfort makes us withdraw. Our preferences are shaped by childhood, culture, identity and repeated experiences, reminding me that what one person enjoys may be unpleasant to another. This raises a deeper question: Do I experience reality directly or through interpretations created by my mind?
Meditation has taught me to observe these movements without immediately becoming involved in them. A sensation appears, the mind names it, memory responds, emotion moves and desire follows. Each moment changes and eventually disappears. Through this observation, I begin to recognize the difference between experiencing something and reacting to it. For me, a higher frequency is not a scientific measurement but a metaphor for greater clarity, presence, balance and freedom from unnecessary attachment. Perhaps refinement comes not from experiencing only what is pleasant but from meeting every experience with greater awareness.
Apigustia gives physical form to this invisible relationship between sensation and consciousness. Beyond representing the tongue or food, it explores what happens between receiving a sensation and becoming conscious of its meaning. By transforming a familiar sensory idea into an unfamiliar sculptural form, I invite viewers to question their own experiences.
Through Apigustia, I explore the possibility of moving beyond liking and disliking toward simply noticing. Sensation can exist without immediately becoming judgment, memory without controlling the present and desire without automatically becoming action. The question shifts from “What does this taste like?” to “What does this experience create within me?” Perhaps taste becomes more than a physical sense when we question who is experiencing it and how awareness shapes that experience. In this exploration, taste becomes a doorway into consciousness.
Nasusvia
Beyond Scent Into Inner Reality
We rarely see smell, yet it can transform an experience, awaken forgotten memories and connect us to people, places, and moments from the past. Through meditation and mindfulness, I have learned to create inner space, observe my thoughts and become more receptive to what arises. Smell became another doorway into this exploration of awareness.
Scientifically, smell begins when molecules interact with receptors in the olfactory system. However, our experience extends beyond the physical stimulus. The mind recognizes, interprets, remembers and assigns meaning, transforming sensation into emotion and response. The same fragrance can create happiness in one person and discomfort in another because perception is shaped by individual experiences, memories, and associations. Perhaps we never experience reality entirely without interpretation.
Smell has a remarkable connection to memory and emotion. A familiar fragrance can transport us toward a childhood home, a loved one or a forgotten moment. Yet the memory does not reside within the smell itself. The scent acts as a trigger, while the mind creates the association. By observing how sensation becomes recognition, memory, emotion and thought, we can begin to understand the processes shaping our inner experience.
Much of this movement happens automatically. We react before becoming aware of our reactions. Metacognition offers another possibility: observing our own awareness. Can we notice a smell without immediately naming it, recognize a memory without becoming absorbed in it or experience an emotion without allowing it to dictate our response? Between sensation and reaction, there may be a space where conscious observation becomes possible. Mindfulness invites us to discover this space without rejecting or clinging to what arises.
Resonance extends beyond physical interaction into biological responses, psychological associations, personal memories and existential interpretations. A smell does not end at the nose; it continues through the nervous system, emotion, thought and our sense of identity. I describe movement toward a “higher frequency” as an artistic expression of greater clarity, presence, compassion, balance, and conscious perception, rather than a scientific measurement. Through sensory awareness, observation and mindfulness, automatic reactions may gradually give way to a more refined awareness.
Nasusvia attempts to give physical form to something invisible, temporary and intangible. By transforming an invisible sensory experience into a visible, lasting object, the sculpture becomes a bridge between sensation and meaning, external reality and internal experience.
Through mindful observation, we can follow a smell as it becomes memory, emotion and thought, allowing each to arise and pass without immediately reacting. Perhaps we do not merely smell the world. The world enters us through smell, becomes part of our memories and eventually shapes the story we call “I.” When we become aware of this entire process, a deeper question emerges: if I can observe sensation becoming memory, memory becoming emotion and emotion becoming thought, who is the one observing it all?
Cwtch
From Contact to Consciousness
Touch is more than a physical sensation; it is one of the first ways we encounter existence. Before language, there is contact, warmth, nourishment and connection. Through meditation and observing my thoughts, sensations and reactions, I began to understand that touch is never simply physical. The sensation arrives but the mind gives it meaning through memory, emotion, desire and experience. What lasts only a moment in the body can remain within us for years.
Unlike the other senses, touch places us directly within an encounter. We touch and we are touched. The skin becomes a meeting place between the outer world and our inner experience, where comfort, fear, intimacy and rejection can emerge from similar sensations. By observing the space between sensation and reaction, I began to recognize how the body responds, the mind remembers and emotions arise. When I observe these processes without immediate judgment, I can distinguish what happened from the meaning I created. Perhaps awareness begins when we experience sensations without being completely controlled by them. Not every attraction must become attachment and not every discomfort requires rejection.
Touch also reveals the delicate relationship between connection and separation. Although the body establishes boundaries, gestures, memories and emotions continually cross them. Through what we welcome and what we keep at a distance, we discover ourselves, learning to connect without losing our sense of self.
Cwtch explores these ideas through the image of a female egg surrounded by a spermatozoon. Beyond biological creation, the egg represents potential, vulnerability and beginnings, while the surrounding form symbolizes movement, attraction and desire. Its resemblance to a breast introduces nourishment. I have observed how an achievement can appear enormous while I pursue it, only to become smaller in my perception once attained. Yet I continue drawing nourishment from what I have accomplished while reaching toward something new. The sculpture connects the desire to achieve with the need to receive nourishment from achievement itself.
Through this exploration, touch becomes a doorway to conscious experience. We can hold an object without truly seeing it or embrace someone without being fully present. Attention transforms ordinary sensations into deeper experiences. I use the idea of a higher frequency as an artistic metaphor for refined awareness: becoming more observant, less impulsive and more capable of connection without attachment.
Ultimately, Cwtch explores the relationship between body and world, desire and achievement, memory and sensation, self and others. It cannot preserve a memory or contain an emotion, but it may awaken something within the viewer. What do we remember when we touch? What are we still holding from experiences that have disappeared? Are we merely touching life or are we truly present enough to experience it? The sculpture remains silent, leaving these questions and their answers to the person who stands before it.
In his own words
From the earliest chapters of my life, I have felt a quiet familiarity with something beyond the known horizons of existence. The world around me has always been familiar, yet something within me has felt as though it belongs elsewhere. I have never fully understood this feeling but it has always carried a strange sense of longing, as though somewhere beyond the boundaries of Earth, a forgotten home is waiting for me.
I am eadekunst, a self-taught sculptor. Through years of sketching, sculpting and meditation I gradually discovered art as a way of exploring this connection. I began observing the space between thought and creation, allowing each work to emerge from the present moment. Rather than repeating familiar forms, I seek to give physical existence to ideas that have never taken shape before.
My journey eventually led me to create Imnuvora, an imagined planet that became the origin of my artistic universe. Its name represents the principles guiding my creative process: Imagination, Manifestation, Nowness, Universal, Vibration, Observation, Reality and Awakening. Within this world, every sculpture becomes a manifestation of a reality beyond the familiar, shaped by intuition, inner observation, and the freedom to imagine what has yet to be discovered.
For me creating is more than an artistic practice. It is a continuous search for an identity that remains just beyond my understanding. Every original thought and every new creation adds another trace to a path I cannot yet see in its entirety. Sometimes, I wonder whether these traces might travel beyond Earth, reaching something that remembers where I came from. Perhaps, one day, they will lead me toward forgotten memories and a deeper understanding of who I am.
Through my art, I am not simply creating objects. I am building a world, one creation at a time, following a feeling that has been with me since childhood.
I am the creator of Imnuvora. Yet, somewhere within this unexplored universe, I am still searching for something I cannot remember.
Until the stars remember me, I will keep creating
Sensory Realism · by eadekunst
ArtnArtist
Edition 1×1
- Opening preview
- Friday, 30 October 2026
6:00 – 8:00 PM - Exhibition
- 31 October – 1 November 2026
9:00 AM – 7:00 PM - Venue
- Harold Peiris Gallery
Lionel Wendt Art Centre, Colombo 07
Curated by Mandira Ranathunga · Programme managed by Gayan Hemarathne
Self-taught sculptor. Creator of Imnuvora.
About eadekunst
From the earliest chapters of my life, I felt that I belonged elsewhere, as if a forgotten home was waiting for me. I walked past the toys in the shop window; iron scraps from my father's workshop became my ships to worlds beyond the Earth. On my room wall I followed that feeling without counting the time, until the lines looked back at me. Then came colour, and ideas that had never taken shape before. Between thought and creation, a form appears. Until the stars remember me, I will keep creating.