Through the iconography of Sri Lankan and Southern Indian temples Reginald Aloysius explores ideas surrounding globalization, emigration and the destruction of tradition, both directly or indirectly through development and modernisation. The juxtaposition of soft pencil drawings of Hindu temples romantically and fantastically looming out from the undergrowth and free flowing paint create dense layered compositions that captivate and allure. These icons of tradition and worship are then scraped, with paint applied in the grooves as stark reminders of modernity. These linear etchings are in fact airline flight paths, alternatively migratory routes, mapped onto and scarring the images threatening the certainty of national identity in a shifting, increasingly nomadic transnational global culture. Aloysius was the recipient of the National open Art (NOA) prize 2015. Aloysius participated in the Colombo Biennale 2014 and was shortlisted for the Jerwood Drawing Prize 2011 and has featured in Time Out, Asian Art Newspaper, Modern Weekly China, Art Radar Asia Journal, The Huffington Post and Dazed Digital.