Banner image by De Beers Group, inline image by Andrea Basteris

What motivated you to pursue an MA at Sotheby’s Institute?

After studying Fine Art at Camberwell College of Arts and Central Saint Martins, I spent several years balancing my own art practice with freelance work across creative fields including scenic painting for film sets, hand-painting shoes for Alexander McQueen, and curating in artist-led spaces. Over time, curatorial work became a more central part of my practice, prompting me to seek a shift towards working within larger institutions.

While these practical experiences have been invaluable, I recognized the importance of building a stronger theoretical grounding in art history and curatorial studies. The MA Contemporary Art at Sotheby’s Institute featured a flexible structure in which students can pick electives to shape their own course according to interests and goals.

You’re currently pursuing your studies at Sotheby’s Institute with a focus on contemporary Sri Lankan art. Could you share more about your research and how the Institute has supported you in exploring this field?

I am half Sri Lankan and grew up listening to family stories about the island. My grandfather, an avid painter and art collector, was especially passionate about the 43 Group, a modern art movement founded in 1943 Colombo by young, pro-independence artists dedicated to developing a uniquely Sri Lankan modernist movement. The family connection sparked my interest and led to dissertation research. Only then did I realize that few books have been written on Sri Lankan contemporary art. It daunted me, but I came to realize, with encouragement from my tutors, that this gap offered a rare opportunity to contribute to a largely undocumented movement in art history.

How are you balancing your ambitions as both an artist and a curator while studying the MA in Contemporary Art at Sotheby’s Institute, and how does your commitment to promoting underrepresented artists influence your work?

Balancing my roles has not been without challenges. The Institute’s support has made a real difference. It’s helped me clarify, prioritize, and find ways to help my practices inform and strengthen one another rather than compete for my time and attention. My curatorial work now enriches my research and deeper engagement with underrepresented voices while offering new perspectives on my own artistic practice. These roles have begun to complement each other in ways I hadn’t fully expected.

In addition to my curatorial work, I help organize events for London’s University of the Arts alumni of color to create spaces for underrepresented artists to connect, exchange, and help mutual support flourish.

What aspects of the MA Contemporary Art program have most significantly impacted your perspective on curatorial studies and critical theory?

The program’s multifaceted approach to blending coursework, reading, exhibition visits, and study trips has transformed the way I engage with critical theory and art history. This immersive experience has broadened my horizons, enabling me to better situate artists within wider cultural contexts and conversations.

It has also encouraged me to experiment with my curatorial approach. Previously, I selected artists first, then let themes emerge from their work. More recently, I’ve started building exhibitions around central concepts, which has given shows a clearer focus. I’ve also taken on more solo retrospectives alongside group exhibitions which has allowed for deeper engagement with individual artists’ practices and bodies of work.

Before joining the Institute, you led an artist workshop and curated an exhibition with Earls Court Development Company. How has your experience at the Institute further equipped you to continue developing your entrepreneurial and curatorial practice?

Before joining the Institute, I focused much of my energy on creating opportunities for artists in the wake of the pandemic. Growing up in Earl’s Court, I had long been aware of the many empty storefronts in the area and approached the Earl’s Court Development Company with a proposal to make creative use of one such space. This became 21 Day Conversation, a pop-up exhibition and creative experiment that brought together 42 artists from a wide range of disciplines including fine art, fashion, jewelry, illustration, graphic novels, poetry, and writing. For many of these artists, it was their first time meeting and collaborating.

I transformed the space into a series of live studios where visitors could observe the creative process as it happened. Artists ran talks and workshops, and we set up a small shop selling their work, culminating in an exhibition showcasing pieces made during the 21 intensive days. The project was a lively and rewarding experience, part of which was featured on BBC’s Woman’s Hour, but as it was entirely voluntary, the workload left me feeling burnt out.

One of the most valuable lessons I’ve learned during the MA program is the importance of recognizing the worth of time and labor, both my own and that of others. While the program has deepened my commitment to working with local communities, it has also taught me the need for careful planning and adequate funding to ensure that everyone’s contributions are properly supported. In the past, I would throw myself into organizing large projects at short notice; now, I am much more mindful of developing ideas thoughtfully and building strategic partnerships to make such initiatives more sustainable for all involved.

As part of your MA work placement, you’re interning with the Indian & South Asian Modern & Contemporary Art department at Sotheby’s Auction House. How has this placement enriched your academic and professional development?

My time at Sotheby’s auction house was a valuable and eye-opening experience. I had the opportunity to contribute to catalog entries and condition reports for works featured in an upcoming auction, which gave me practical insight into the curatorial processes behind such sales. I am also currently writing an editorial on Sri Lankan art for the department’s page, a very rewarding way to connect my academic research with professional practice.

Perhaps most excitingly, early conversations have begun about the possibility of curating a dedicated Sri Lankan section in a future auction, something that would be a first for Sotheby’s. While still at a preliminary stage, this potential project reflects the kind of work I feel most passionate about: creating space for underrepresented artists and regions within international art platforms.

How did your time at the Institute influence your approach to collaborating with luxury brands like De Beers?

My collaboration with De Beers began before joining the Institute, but the MA has given me a richer understanding of the relationships between art and the luxury sector. Through the course, I’ve become more aware of how luxury brands, whether in fashion, jewelry, or design, are increasingly looking to the art world for meaningful dialogue and creative inspiration. As an artist, learning how to contribute authentically to these partnerships while maintaining my own voice has been important. These collaborations have also allowed me to experiment with new ideas and approaches, which in turn feed back into my own artistic practice.

With De Beers, my work has included painting film stills for marketing campaigns, designing staging for an influencer event at their London headquarters, and producing large-scale charcoal drawings. Most recently, De Beers acquired four of my works for their permanent collection, which have been displayed in Hong Kong and are planned to feature in an upcoming event in Beijing.

As one of the Cultural Leaders Program scholars, how did the combination of mentorship, funding, and professional development support your journey through the master’s program and prepare you for what’s to come?

Quite simply, I would not have been able to pursue this MA without the support of the Cultural Leaders Program scholarship. Despite years of experience, breaking into institutional spaces felt out of reach; I couldn’t even secure an interview for a gallery internship. Like much of the art world, access often depends on networks that are difficult to enter for those from working-class or minority backgrounds.

This program has given me knowledge, visibility, and a voice. Where I once felt on the margins of these conversations, I now feel I have a place at the table and the confidence to advocate for others who remain excluded.

What advice or tips would you give to Sotheby’s Institute applicants?

If you’re passionate about the arts, I would wholeheartedly recommend this course, but be prepared for a truly immersive experience. The learning curve can feel steep at times, but it is also deeply rewarding. My understanding of the art world expanded in ways I hadn’t expected. The course is both intellectually rigorous and professionally demanding, but the growth it fosters, as both a thinker and practitioner, is invaluable.

I’d encourage everyone to make the most of the extracurricular activities and networking opportunities the program offers, as these connections can prove essential in the future. At the same time, the academic side should not be overlooked; the theoretical grounding is just as important as the professional relationships you’ll build.

This course will likely challenge you in ways that feel uncomfortable at moments, but it’s often in those moments that the most meaningful development happens. If you’re open to being stretched and shaped, Sotheby’s Institute provides the tools, knowledge, and environment to help you thrive in the art world.