Anoli Perera prominently used red (kumkum) pigment to ground their work. Metaphors of imagination, travel and borders preoccupied Anoli, especially the context of the Sri Lankan identity being a suspicious identity within international travel. She sunk eleven small and large shallow galvanized iron trays in a geometric floor pattern, near the pond, into the flattened earth of the embankment. These trays were filled with water that metaphorically represented the reality of Sri Lanka. Within each an earthen pot with a lid was placed, its neck tied ritualistically with mouli or thread dipped in a Sindhur paste. The outer surface of the pots carried an English stream of consciousness text reflecting the anxieties and the psyche of a traveler. For her the pots were like knots of emotion in the process of leaving home and negotiating a space and an identity elsewhere.