Interviews med Kasun Wadumestri

My professional design journey began after completing my GCE Advanced Level. I then pursued a Graphic Design NVQ Level 04 certificate at the National Vocational Training Institute in Sri Lanka, which laid the foundation for my design career.

I’m not entirely sure how I became a designer, but I’ve always had a natural inclination toward visual expression. From childhood, I was constantly visualizing and creating in my own world. At first, I aspired to be a cartoon artist, and although I didn’t pursue that path, my love for creativity eventually led me to design without fully realizing it at the time.

I consciously chose this path as my career. It was a decision driven by my passion for creativity and design.

I enjoy designing and creating work that resonates with me on a deeper level. I’m particularly drawn to sensitive topics, whether they relate to social issues, animals, humans, or nature. These subjects inspire me to explore meaningful design that can spark awareness and emotion.

I don’t consider myself a design legend, but if someone aspires to make a lasting impact, I’d advise them to follow their heart and create work that feels true to who they are. Immerse yourself in your art and allow others to experience your creative world. Remember, art isn’t just for the artist—it’s meant to be shared with the world.

"Good" refers to many, while "great" refers to few. And "few" means rare—something hard to find, which makes it valuable. Value comes from the strength of the idea, and ideas are born from imagination. To be great, you need to continually expand your imagination—keep pushing boundaries, keep expanding... keep expanding...

"Good" is a relative term, and what makes a design truly great is its ability to bring about a meaningful change. A really good design has the power to create a positive impact, whether that’s through solving a problem or shifting someone’s perspective. Its effectiveness lies in how it transforms the way we think, see, or interact with the world.

Good design goes beyond aesthetics; it adds value by making things more intuitive and efficient for everyone, not just a select few. By investing in good design, you can create lasting impressions and build meaningful connections with your audience that endure over time.

As I mentioned earlier, I would focus on designing for society, nature, and animals. These are areas that deeply inspire me, and I believe design can make a meaningful impact in raising awareness and fostering positive change.

I prefer not to reveal my dream projects until they’re realized. But stay tuned—the best is yet to come.

The secret ingredients of my designs are nature, society, culture, and life itself. These elements inspire and influence my work, helping me create designs that are meaningful and impactful.

To be honest, I draw inspiration from anyone around the world who offers new knowledge. Since my focus is on visual communication, I explore a wide range of art and design.

As of 2024, my most impactful design is the "Masterpiece of Abuse" campaign for the Women in Need Organisation. The campaign shed light on the year-round issue of abuse faced by women, rather than focusing solely on International Women’s Day. It introduced "Ewa – The Masterpiece of Abuse," a statue crafted from newspaper stories that documented instances of abuse over the previous year. Ewa was displayed in public spaces, symbolizing the hypocrisy of celebrating women’s empowerment for just one day while ignoring the ongoing struggles women face throughout the rest of the year. The campaign ignited important social conversations and garnered widespread media coverage.

The core insight behind the campaign was the contradiction between Women’s Day advertisements celebrating empowerment and the news stories about women’s abuse published alongside them. By using these real stories of abuse to create Ewa, the campaign exposed this hypocrisy and highlighted the disconnect between the messages of empowerment and the persistent challenges women continue to face.

To become better designers, people should continually study and challenge their own thinking patterns and preferences. This ongoing self-reflection and learning process is key to growth.

Sometimes, will be a creative writer or a teacher.

Design is anything that involves thought and intention. Without thinking about something as a design, how can we truly recognize or introduce it as such? Design has no limits, no boundaries, and no specific space—it can exist anywhere, at any time. While this might not be the conventional view, it’s how I see it.

colleagues of mine

Before becoming a design master, I struggled with understanding who I truly was. It took two to three years of self-discovery to recognize my potential.

More than a designer, I see myself as an artist. Every artist has a unique way of presenting their ideas, and similarly, designers should present their work in a way that reflects their vision. Ultimately, the audience connects with the artist through the design.

When designs are of a high caliber, people will value them. If they don't resonate with the audience, they will be overlooked. As an artist, I plan to focus on creating more designs that address societal issues in the future. This is what people ultimately expect from both artists and designers.

Good designs will awaken the eyes of the society.

The "Masterpiece of Abuse" project brought me the most satisfaction because it involved significant contributions from both society and my friends. The collaborative effort made it deeply meaningful and impactful.

In the coming years, I’d like to see new technologies being leveraged to raise awareness about social issues in the design industry.

Believe in yourself and never give up.

I believe it's a dynamic relationship where both design set trends and trends influence design.

The role of technology depends on the specific design and its requirements.

I don’t think there’s one specific book that had the most effect on my design. I typically read novels and poetry, as they nourish my mind and fuel my imagination.

I believe it became clear to me that I would be more of an artist than a designer.

Imagination has always been a passion of mine, even from a young age. I've always loved visualizing dreams and ideas. My journey as an artist began in 2011 when I started my career as a Junior Graphic Designer. Joining a well-known advertising agency was a pivotal moment in my life, and it truly shaped my path. I strongly resonate with Picasso's quote: "Every child is an artist. The problem is how to remain an artist once we grow up." To me, it's about staying true to that childlike wonder and simplicity, because it's that same curiosity and creativity that made me the artist I am today.

To be honest, I’ve always known I wanted to be an artist, but I wasn't certain about the specific role I’d take on. Sometimes I find myself as a storyteller, other times as a short film director, or even as a visualizer. I’ve also dabbled in acting in theater, creative writing, and teaching. For me, being a designer is just one aspect of my creative journey. It’s more than just designing—it’s about embracing all these different roles and expressing myself through various forms of art.

For me, design is anything that involves thought and intention. Without thinking about something as a design, how can we truly recognize or introduce it as such? Design has no limits, no boundaries, and no specific space—it can exist anywhere, at any time. While this might not be the conventional view, it’s how I see it.

I tend to design works that address sensitive topics, social issues, or draw from personal experiences. These themes often inspire me to create art that resonates deeply and conveys a meaningful message.

For me, there’s no single material, platform, or technology that I prefer when designing. It all depends on the purpose and message I want to convey. It’s like asking, "What do you want to say, and how do you want to say it?" The choice of medium ultimately depends on the artist and the context of the work.

When I design, my main focus is on maintaining the quality of the work, rather than the quantity. I believe that the impact and integrity of a design matter far more than how many pieces are produced.

It depends on the work.

The most fulfilling part for me is knowing that, through my work, something positive can happen in society or for others. It’s a feeling of pure pleasure that words can’t fully capture.

A design becomes 50% successful if its purpose is clearly defined before starting the work. The remaining 50% is determined by additional factors such as the core idea, dedication, determination, patience, and endurance.

When judging a design, I first consider what it is intended for and how well it aligns with the main design purpose.

From my perspective, the responsibilities of a designer toward society and the environment are the same as those of any human being. As designers, we are part of the natural world, shaping it and being shaped by it. We have a duty to create with awareness, considering the impact of our work on both society and the environment. By doing good, we should contribute to making the world a better place.

The design field is evolving rapidly, especially with the rise of artificial intelligence in design. While AI can create designs, I believe human thinking and creativity are still more advanced. However, the challenge lies in humans not fully utilizing their brain and heart in the right way. Designs will continue to be created, but the value of a design will depend on the time period we’re living in and how well it resonates with the world around us.

My design inspiration primarily comes from nature, society, and culture—these are the key sources that fuel my creativity.

Sri Lanka, where I live, recently gained its independence after enduring thirty years of war. I have experienced this firsthand, and it remains a deeply tragic reality. Certain groups have long been invested in perpetuating conflict, with parasitic factions thriving on war. These groups are deeply entrenched in today's world, and when there is no active conflict, they work to create an environment that fosters one, allowing them to continue profiting from the turmoil. Unfortunately, the general population remains largely unaware of these underlying truths. In Sri Lanka, this reality had dire consequences, affecting the economy, social life, education, healthcare, and much more.I did not want to point a finger at any race, religion, country, or individual, as these are the most sensitive topics that can easily ignite conflict. These are often the very factors that fuel wars, sparking tensions anywhere, at any time. I didn’t want to create another war by highlighting these issues in a poster series.However, this issue is not only unique to Sri Lanka; it is a global reality. Throughout history, especially during world wars, there have always been forces at work to maintain conflict. That’s why I named this poster series "Peace Hunters." It symbolizes the ongoing search for peace, even in the face of those who profit from war.

In my view, olive branches and doves have become symbols of peace that are often more about marketing than meaningful representation. These symbols have turned into mere props, commercialized in today’s world. But if there is no conflict and no harm being done, do we even need a symbol of peace? Why rely on a symbol if we aren't actively working towards its real-life presence? As long as peace is reduced to a symbol, no one is truly motivated to maintain or pursue it.With this in mind, I wanted to illustrate the true nature of peace—where it exists, where it doesn’t, and where it may never be. I also incorporated symbols, but not in the traditional sense. Instead of presenting peace through familiar emblems, I used elements from nature as symbols to convey the core message of the posters. It’s about showing how we can lose our peace, and how nature often holds valuable life lessons. In this case, I applied natural theory in a practical way to express the concept.

I’ve seen many times when war seemed to be coming to an end, only for some internal or external involvement to prevent it. Every time, it seemed like peace was within reach, and discussions were held, but unfortunately, they were never fruitful. The issue was that whenever a third party supported reconciliation, there was always another party opposed to it. I wonder when people will truly realize that there’s nothing to gain from war. In my life, all I’ve ever seen from war is loss—loss of everything. Meanwhile, the benefits of war are always reaped by outsiders who actively oppose peace.

For the visual composition, I positioned the hunter’s eye according to the rule of thirds, to create a balanced design. I’ve shown only a fragment of the hunter’s face, making it impossible to identify who they are. This invites the viewer to guess, much like in real life, where we can only speculate about the hunter's identity, never truly knowing if our guesses are correct.In the posters, I used color purposefully to emphasize the sorrow of losing peace. Approximately 95% of the poster is in black and white, with only the eye in color. The eye is the focal point—the part every hunter is drawn to. This is why I chose to depict the colorful prey through the hunter's eye, symbolizing the last vibrant moment of the prey’s life.The eye is one of the most important features of any hunter. They watch their prey without blinking, waiting for the precise moment of weakness. Similarly, in real life, third parties often involve themselves in conflicts—either supporting or opposing—watching, and waiting for the right moment to intervene.

Each poster in the series uses animal imagery to represent conflict. For instance, in one design, two hippopotamuses clash, with the hunter appearing as a crocodile or an anaconda. In another, two birds are engaged in battle, and the hunter is an eagle or owl. In yet another, two deer fight, with a tiger or leopard lurking as the hunter. The viewer can only perceive the conflict through the hunter’s perspective, symbolizing the destructive nature of discord.The choice of animals and their settings is intentional. Each poster is set in one of three locations where peace is vulnerable to disruption: the air, the water, and the land. These environments reflect different aspects of conflict and war. The prey can clearly see the danger, but the hunter remains hidden, symbolizing how often those causing harm do so out of sight—an analogy to the nature of war in reality.

My research has highlighted the role of various conflict-driven industries, and this understanding of war's economic motivations significantly influenced the conceptual development of the Peace Hunter Poster series.As I mentioned, Sri Lanka, where I live, gained independence after enduring a brutal thirty-year-long war. My personal experiences there have deepened my understanding of the complexities of conflict. During that time, industries like arms trade, drug trafficking, and organ trade thrived, fueled by criminal syndicates. Pro-war factions often exacerbate disputes, destabilizing states and creating conditions for war by fostering divisions through borders, tribal boundaries, and religious conflicts. This pattern is not unique to Sri Lanka—around the world, similar forces are at play. The same dynamics are unfolding in various places even today, at this very moment.

In the Peace Hunter Poster series, I sought to create a dialogue between the image and text that would guide viewers toward their own realizations about peace. The artwork itself is deeply symbolic, but I wanted to ensure the message wasn’t lost on those who may not immediately interpret its visual complexity. That’s why I paired the artwork with a clear, concise message: "Discord leads to destruction."Additionally, I included a brief description to further illuminate the theme: "Peace hunters wait for the right moment to catch their prey. Do not let your discord become someone else’s victim. Unity is the key to rejecting war and achieving peace." This text acts as a guide, offering viewers a pathway to understanding the deeper meaning behind the visual elements of the poster.While I initially considered a purely visual approach, I ultimately decided to include text to ensure the message could be easily understood by a wider audience. The goal was to strike a balance between artistic expression and clear communication, allowing the viewer to not only absorb the meaning but also reflect on their personal interpretation of peace.

Crafting the subtle yet powerful narrative within the Peace Hunter Poster wasn’t without its challenges, especially since my native language is Sinhala. I have a deep passion for playing with the Sinhala language, and I enjoy the nuances and creative possibilities it offers. However, writing creatively in English posed a unique challenge, as I didn’t always have a firm grasp of the phrases and patterns that might allow me to fully express the idea in the same fluid, impactful way.Despite this, the core message I wanted to convey was clear. I began by crafting the concept in Sinhala, focusing on the meaning I wanted to communicate. Once I had the essence of the message, I then translated it into English. This process allowed me to ensure that the integrity of the idea remained intact while adapting it to a different language and cultural context. My background in advertising helped me focus on clarity and impact, ensuring the message was direct but layered with meaning. Meanwhile, my creative writing experience allowed me to infuse a subtle narrative that invites deeper reflection.

The Peace Hunter Poster series is designed with long-term relevance in mind, considering how the theme of peace—and the forces that threaten it—transcends cultural boundaries and historical periods. Throughout history, peace has often been lost not on a familial or individual level, but on a national or imperial one. Why is this? The pursuit of power. Empires throughout history sought to expand their dominions, and today, leaders still aspire to build empires, driven by a desire for control and influence.Looking at the modern world, it's evident that conflicts are fueled by the same factors: weapons, religion, drugs, medicine, body parts, diamonds, gold, oil, minerals, and land. All of these can destroy peace in an instant by sowing discord. This pattern of conflict has played out in the past and continues today. And the question remains: do we truly believe it won’t happen again in the future?By focusing on universal themes of power, discord, and destruction, the Peace Hunter Poster aims to resonate with viewers across different cultures and eras. The visual language—through its symbolism and the timeless metaphor of "the hunter" and "the prey"—is meant to evoke a sense of ongoing relevance, reminding us that the forces threatening peace are as persistent as they are universal.

While I don’t believe a poster series alone can bring peace to the world, I do believe the "Peace Hunter" Posters can shine a light on the hidden forces behind the disappearance of peace. By drawing attention to the deeper, often unseen motivations driving conflict, this poster series aims to provoke critical thinking about why peace is so frequently disrupted.If people from all corners of the world encounter this poster series, they might begin to recognize the hidden networks and power dynamics that influence the course of history.The message behind the poster is universal—it speaks to the underlying causes of discord, whether on a continental, national, or local level. Viewers can interpret the ideas in ways that resonate with their own experiences, allowing the work to transcend specific regions or conflicts. Ultimately, I hope that Peace Hunter Poster encourages a deeper, more global understanding of how peace can be undermined and the steps that might be taken to prevent it.I hope this work contributes to broader conversations about peace and conflict prevention by revealing the political and economic forces at play in global conflicts.