Reginald S. Aloysius is a British-born artist of Sri Lankan Tamil descent whose background has informed his work exploring themes of globalisation, emigration, and the destruction of tradition—intentionally or otherwise—through development and modernisation.

After graduating from The Ruskin School of Drawing and Fine Art, Oxford University, Aloysius spent many years freelancing as an Art Technician working directly with artists across Europe before completing a Masters at Kingston University on a research-based drawing programme.

Through the exploration of the iconography of Sri Lankan and Southern Indian temples, Aloysius investigates the social agency inherent in any cultural choice.

His detailed drawings of Indian Hindu temples coupled with a delicate use of paint evoke parallels with early colonial photographers in a Asia. Though these works are structured according to tradition, modernity enters through vector-like routes—precise series of lines based on airline flight paths are mapped on to the works, scarring irrevocably onto the image with a scalpel, before finally painting into the grooves using Humbrol paint, thus melding together two quite different iconographic registers. These marks can be understood as lines that threaten the certainty of national identity with the shifting, nomadic identity of trans-national cultures.