BORN in 1983, Irami Buli started exploring art as a young lad, even though he had no understanding of what “art” was all about.
He hails from Moturiki Island in the Lomaiviti Province and was fortunate to be nurtured and mentored by two extremely extraordinary men — the late Dr Epeli Hau’ofa and the Pacific’s most iconic painter, poet and writer John Pule.
“I am what I am today — an artist — because of these gentlemen,” he said
Irami Buli is now one of the lead artists of the Waisiliva Gallery — an initiative that intends to create working partnerships with arts and cultural agencies to create needed spaces for exhibition for the artists who belong to the collective.
Waisiliva is the last born Fiji art group, with the principal focus on representation of Pacific contemporary artists, to organise exhibitions, artistic events and workshops.
Buli, Mason James Lee, Rainblow Blyde, Craig Marlow, Anare Somumu and Lambert Ho were the first army of creators who came to the idea and began to show work in the Waisiliva Gallery exhibitions on Leleuvia Island.
This week, Buli shares his art inspiration with The Sunday Times team as we discover the talent behind the paintings.
ST: Of all the things you could have become, why choose to go into art?
Buli: Art plays a vital role in my personal life for many reasons. I am what I am today, an artist who once dreamt of seeing the world in a different way. For my journey is hard as it gets, but with determination and courage will only endure life’s glory and wonders.
Art has changed me. It has healed the wounds and slowly processed within. It has become something bigger than me, which only allows me to drown beyond the deepest space of imagination and creativity.
My work’s aim is to speak to you. It is my tongue where words are kept only for you to grasp before it fades away to another.
The world has opened up in my hands as if I’m holding a round plate full of colours and dreams. With all that I have achieved today, is a reflection of my self-beliefs, where my struggles set upon my path which foresee my tomorrows.
As I grow I continue to grow and learn, for it is a long way ahead and with this entire path I always acknowledge those who have helped me along the way, those who have passed on their legacies for us to learn.
With no regrets to my background I am very grateful to where I stand today and always reflect back to those difficult days while growing up. Perhaps this was one of the strengths I have discovered within me after so many years of trying to rediscover myself with obsessions and questions.
ST: Tell us a bit more about getting into the feel of doing the work you do?
Buli: Basically, I set up a studio at home. I practically allow myself to drown in such surroundings isolated from everything to create comfortably, allowing both my spiritual self and mentality for preparation, to constantly think outside the realm of creativity.
ST: What is your favourite artwork?
Buli: My favourite work of art would be Gustav Kilmt’s “The Kiss” 1907-1908.
ST: What is something not many people know about you?
Buli: I was named after my great grandfather, a songwriter who composed the song known as Na Mataniciva Au Vakawaletaka by IU Raratabu.
ST: What do you think is the role of artists in society?
Buli: Treking back in history, in ancient times long before writing, our ancestors depicted stories through paintings and this is evidence to our human growth and knowledge.
The role of artists in our society is so important and is vital to this modern day. Artists are the manuscripts of recording history, life stories, personal journeys, depictions of important figures and heritage, deconstructing of ideas, they carry knowledge of interpretation, portraying of critical messages of our environment and a million more things to say.
All these reasons are elevated throughout human histories for one great reason, because of its immortality. Because it outlived us, it carries on for generation to generation.
ST: How has this practice changed over time?
Buli: The world evolves, and so has my thinking. I am impressed but not satisfied with what I have created or painted.
Why this phenomenon process? When I began thinking of a particular idea, it became millions of more ideas and the feeling of sensitivity kept growing, I needed to explore further.
As if the energy surrounding me is so optimistic that there’s the need to find out. Part of my philosophy is: “If you know everything, then you have not grown a bit.”
ST: When you’re immersed in your work, what are some themes you often pursue?
Buli: First is to understand connectivity. The world is changing, people change, almost everything is changing but mostly is unconnected.
What I have noticed is almost everyone knows what is happening in the world today, but within each human being is something surely unknown, something beyond great, something wonderful and beautiful.
When I create a painting I dearly dwell within me. I want to reconnect myself with myself.
At first I was looking outside of me, when I began exploring what is unknown within me it began to raise a sense of connectivity with the people surrounding me.
The audience begins to show this energy of connectedness when they view a piece of artwork silently knowing that somehow a sense of awareness is unfolded. As to say my story is where I based my themes.
ST: Was there a real-life situation that inspired you do work on a particular project?
Buli: In 2006, I was on Koro Island attending a meke competition for the schools on the island. After this entire event took place we had time to walk around freely in the villages. Here a few of us went climbing up the hilltop to see the falls from above.
Then I had an encounter with a massive tree uprooted lying on the hilltop with its branches and roots exposed.
This particular moment I had visualised the tree standing in front of me and I’m looking at the whole body of this magnificently huge tree as if it was uprooted by a hurricane or a storm.
A white line separated the body of the tree, I began wondering what this line meant.
After years of practising art I have not come across such an encounter. Days after I came back to mainland I kept seeing the same tree.
This huge tree gave an insight that allows me to dig deep in what I’m seeing. It gave me an understanding of who we are, our connectedness, and knowing where we belong.
It made me understand the whole process of ourselves, from a seed planted and grows. Grows from and for the energy from the sun, allows its life to be fruitful and not barren.
Here I learnt that life is not what we actually see is in front of us but actually what is unseen to the naked eye, and this is what we need to see.
The growth of this tree depends not only from the sun, but also for the roots weaving deep below the unseen world for nutrients in order to sustain its growth and life.
The roots make its connection in the deep of its veins and continue to search for sustainability for the life of the tree.
Years later I launched an exhibition themed “Wakanivuku — The Inspiration”. In order to grow up, you need to dig deeper.
ST: As an artist, what is your outlook on life?
Buli: I have a very simple statement: “If you inspire one, you are inspiring a thousand more.”
ST: What memorable responses have you had to your work?
Buli: One greatest response I have had in my entire career was in Bali, launching a solo exhibition themed “Veiwaki-Fusion” at the Museum Of Contemporary Arts.
One painting I had called “The Broken Pieces” viewed by a French lady who came to the painting and began to cry.
Without any curiosity, she silently stood in front of the piece as tears flowed down from her eyes. She bought the painting as she exited the gallery.
ST: What do you dislike about the art world?
Buli: The arts has played its role and will keep doing so for many more years but perhaps my opinion to this is the challenge on how the world works today.
Modern technology is making its mark to counterattack the art world and perhaps this trending phenomenal has made things more sophisticated.
Art today is becoming technologised and more advanced in order to challenge our intelligence but if there is something that I dislike about the art world it would be to not weaken the capacity of the arts in all areas of our institutions.
ST: What do you like about your work?
Buli: Being a sophisticated painter and the ability to create a new angle for my work is fundamental with the idea to relook at nature from a different perspective. Conception always allows me to focus beyond what I see.
ST: In your opinion, should art be funded?
Buli: Like other art institutions around the world, it is foremost for the establishment of the artists’ profile and reputation.
In regards to this, it is crucial for our Government to establish the National Art Gallery or otherwise it could be privatised to a self-running art gallery by interested parties.
ST: What is your dream project?
Buli: My dream project would be to fight for the arts to establish a National Art Gallery in Fiji and take the art in Fiji to international levels of quality, innovation and vision, and also to establish my career as a curator for the future of the arts.
Being the artist you want to be is to not compare yourself with the masters of ancient arts. Your voice is important and this takes a lifetime to achieve. You can only be inspired by the works and philosophy of renowned artists and learn from what they have gone through.
ST: What is your favourite place to find inspiration?
Buli: Sitting on a beach and let myself loose in an empty space between the ocean and the skies. My getaway to reload inspiration is closer to my home on Leleuvia Island.
ST: What is the strongest memory of your childhood?
Buli: Being away from my family. It may seem different to others but as for me growing up, it has nurtured me in a way to be courageous, to have a sense of bravery in self-motivation. It has taught me to learn and understand life’s struggles, it has taught me to stand strong on my two feet. It instilled within me a sense of self-belief and life is a long way ahead.
ST: What was the most scariest experience you’ve had?
Buli: Life was not fair for me. I had four brutal car accidents while growing up and a near-death experience in hospital after I found it difficult to breathe because of the chemicals used while painting a huge work in the studio.
And many other experiences I faced in life, but nevertheless thankful I am still who I am today. These experiences have not only manifested itself to me but has strengthened my ability to share life with everything I have for now in an artistic way, literally.
