Chandrasiri’s signature creation “Broken Hands” is an installation that deals with the superstition surrounding the number 13. The personal enters when he identifies himself as a person born on the 13th day of a month, and delineates the distress he has thus far experienced in his personal life as a subject of the civil war via 13 panels that hold 13 broken hands in a funeral house. He uses the commonly available material of clay for the hands lying on wooden piles at different heights. As Sabine Grosser claims, using charcoal, oil lamps and betel leaves “he evokes impressions of local everyday culture which is not only limited to temples or museums.” In reference to the installation Chandrasirihimself said that the experience of creating and presenting it “was a reconciliation process, during which [he] tried to make sense of the conflict of which [he] was also a torture victim.” One of his more recent pieces of installation art is “Things I Told, Things Not Heard, and Things I Tell Now!” (2016) thatagain deals with the collective and personal wounds of war. A makeshift interrogation room and rubble is set in front of an enlarged black and white photograph of Chandrasiri himself, with a scar above his right ear. The installation, which was exhibited at the Aicon Gallery in New York at the Portraits of Intervention exhibition, highlights the photograph and the scar as remnants and memories of the dangers of the ethnic conflict that seem to be a part of the past. However, these remnants still require artistic questioning because memory is a part of what determines one’s identity, especially someone like Chandrasiri’s. His theatre set designs are also known to embody these aspects of war and how conflict can trigger existentialist thought, despite the scripted boundaries of a play.