Perera’s work examines the intersection between our prevalent culture of tourism and the fictionalisation of culture within ‘exotic’ countries resulting in the obfuscation of cultural artefacts. She delineates her relationship to cultural tourism, especially evident during her visits to her country of birth (Sri Lanka). She draws on our expectations of ‘enrichment through travelling’, and what objects of culture might signify when their originating context is removed and presented within a cross-cultural setting. The sculptural installations feature details of the human form, alluding to ancient statuary but adopting the body language of the contemporary individual. These are positioned with/against works that engage with traditional imagery, forms, and craft practices from the Indian subcontinent and reproductions of typical and souvenir objects.
In doing so, the artist performs the writing of sacred spaces into the domestic and the public, considering the way in which the dislocation of the souvenir object relocates significance through what is brought to it and what is brought back from it. Perera’s sculptures investigate the fetishization and commodification of  ‘found’ cultural objects and the push and pull of the identifiable/unidentifiable. Perera reconfigures objects of touristic attraction, the disposable and the novelty curiosa, and through the juxtaposition of the two draws on the potential for new realities that perform the aforementioned fictionalization.