Buddha heads, fan palm leafs and color as symbols of culture and nature
This idea of a long process of contemplation that took him to create these works becomes also evident in the serial production he uses.
He developed moulds to form Buddha heads and fan palm reliefs, replicated in a positive and a negative version. With this highly technical forms he replicates various heads and leafs, but colors them in varying ways individually.
So he combines different components:

The other component the fan palm relief can be understood as a sign of the overwhelming, rich nature of the so called Paradise Island. This leaf has a very ideal, symmetrical shape that allows it own connotations in this isolated, reduced context. Anyhow nature especially in the context of ‘paradise’ implies sensuality, sexuality, womanhood/feminity and fertility. The correspondence of the positive and negative form implies the aspect of duality.

Both components are set in series, this fact underlines that they are not painted or drawn, referring to the idea of depiction. They don’t try to depict any kind of nature, reality or religious symbols. They reproduce forms, which are found in Sri Lanka. So it is not the question of depicting Buddha or Jesus, a fan palm leaf or an oak leaf.
They are symbols for a context, a philosophy, a surrounding the artist refers to. The Buddha head as a symbol of the culture and philosophical background he lived in since 1997. Buddhism might be seen as the most vital and convincing form of a religious philosophy that persists in many parts of the world and is referred to especially by many western intellectuals looking for new orientation. Also contemplation and meditation play a major role in the Buddhist practice but not referred to one God but to humanity, in a very literal understanding of the word.