Balinese Kamasan Paintings

Kamasan 1605 wayan Dogol, The charming of Mandara Giri, natural pigment on paper.“The Charming of Mandara Giri” 1605 Natural pigments on paper. Image courtesy of Museum Puri Lukisan

Imagine you are a master Balinese painter, and your King has recently commissioned you to create a work. As you sit down in front of a large cloth stretched upon a wooden frame with a pencil in hand, for a moment you contemplate the composition before beginning to sketch. The year is 1723. What would go through your mind?

Possibly you hear the clash and bangs of metallic instruments of a Balinese ensemble. You visualize the cloth in front as a giant screen, with an audience seated on the opposite side. And you imagine yourself as a dalang – a master puppeteer – manipulating puppets while bringing to life a mighty Hindu religious epic during a wayang kulit shadow theater play.

The roots of the wayang puppet theater, one of the original story telling methods in the Balinese culture may be traced back over 2000 years to the Indian traders who settled in Nusa Antara (Indonesia prior to being known as the Dutch East Indies) bringing with them their culture and Hindu religion. The wayang or classical style of Balinese painting is derived from the imagery that appears in this medium.

Kamasan Painting Image R. Horstman                                                     “The Death of Abismanyu”

The paintings were made on processed bark paper, cotton cloth and wood and were used to decorate temples, pavilions, and the houses of the aristocracy, especially during temple ceremonies and festivals. Originally the work of artisans from the East Javanese Majapahit Empire (13-16th Century), this style of painting expanded into Bali late in the 13th century and from the 16th – 20th centuries, the village of Kamasan, Klungkung, was the center of classical Balinese art, and hence the Kamasan paintings.

The original works were a communal creation, the master artist shaped the composition, sketching in the details and outlines and apprentices added the colors. These works where never signed by an individual and considered as a collective expression of values and gratitude from the village to the Divine. Colors were created from natural materials mixed with water, i.e iron oxide stone for brown, calcium from pig bones for white, ocher oxide clay for yellow, indigo leaves for blue, carbon soot or ink for black. Enamel paint introduce by the Chinese a few hundred years ago were used on wooden panels of pavilions and shrines, or even upon glass.

The highly detailed, sacred narrative Kamasan paintings play an essential role within the Balinese culture functioning as a bridge communicating between two worlds, the material world humans inhabit and the immaterial world of the divine and demonic forces. The artist functions as a medium translating the esoteric and invisible into a comprehendable visual language and bringing greater understandings to the mysteries of life according to scriptures and philosophies. According to Dr Adrian Vickers, Professor of SE Asian Studies at Sydney University, “The key to Kamasan painting’s sense of beauty is the beautiful flow of line and the pure flat figuration.”

"The Turning of Mount Mandara" .Mangku Mura 1973, natural pigments on cloth, Photo -David IronsA Modern Kamasan Painting  “The Turning of Mount Mandara” Mangku Mura 1973       Image courtesy of David Irons.

For foreign audiences the paintings, however, present difficulties in their understanding. Without a concept of the landscape in Balinese paintings it’s about an arrangement of items on a flat surface akin to the shadow puppets against the screen in shadow theater. Unlike Western modern art where paintings generally have one focal point there is no central focal point to read the Kamasan narratives. Most of the paintings have multiple stories that may be read in all areas around the composition.

Looking at painting it is full with visual information to the extent that nothing stands out. Tight, generalized, often repetitive patterning, often of decorative motifs, and combinations of graphic patterns are distributed all across the surface leaving little or no blank areas. Ornamental elements, rocks, flowers motifs and painted borders indicate Indian and Chinese influence from Chinese porcelain and Indian textiles.

“Adherence to established rules about the relative size of parts of figures related to measurements in the human body – in the Balinese perspective each measurement is seen as a human manifestation of elements that exist in the wider cosmos. Correctness of proportions is part of being in tune with the workings of divine forces in the world. Colors are also codified.” says Vickers in his book Balinese Art Paintings & Drawings of Bali 1800-2010. “Form evokes spirituality.”

DSCF4755                      “Kumbakarna Attacked by Monkeys” Date Unkown. ARMA

The two dimensional Kamasan compositions generally depict three levels, the upper level is the realm of the Gods and the benevolent deities, the middle level occupied by kings and the aristocracy, and the lower third belongs to humans and demonic manifestations. Details in facial features, costumes, body size and skin color indicate specific rank, figure or character type. Darker skin and big bodies are typical of ogres, light skin and finely portioned bodies are Gods and kings. Rules control the depiction of forms; there are 3 or 4 types of eyes, 5 or 6 different postures and headdresses. The position of the hands indicates questions and answers, command and obedience.

The narratives are from the Hindu and Buddhist sacred texts – the Ramayana, Mahabarata, Sutasoma, Tantri, also from Panji – Javanese-Balinese folktales and romances. Astrological, earthquake and birth charts are also depicted. Major mythological themes are rendered in great symmetry, while these paintings contain high moral standards and function to express honorable human virtues to society with the intent to encourage peace and harmony. A beautiful painting communicates balance, aesthetically and metaphorically, and is equated to the artist achieving union with the divine.

Traditional Kamasan painting is not static and keeps evolving as subtle changes have occurred over time as each artist has their own style, composition and use of colour. It is common that new works regularly replace old and damaged works and hence Kamasan painting is an authentic living Balinese tradition.

DSCF4643                                 “Bharata Yudha”  1969  –  Tjokorda Oka Gambira

Where to See Kamasan Paintings in Bali:

Museum Puri Lukisan, Jalan Raya Ubud, Bali

Tele: +62 361 971159

Open Daily 9am – 5 pm.

ARMA Museum, Jalan Raya Pengosekan, Ubud, Bali

Tele: +62 361 975742

Open Daily 9am – 5 pm.

Neka Museum, Jalan Raya Sanggingan, Campuhan, Ubud, Bali

Tele: +62 361 975074

Open Daily 9am – 5 pm

Nyoman Gunarsa Museum of Classical & Modern Art

Jl. Pertigaan Banda No. 1, Takmung, Banjarangkan, Klungkung, Bali.

Tele: +62 366 22256

Open Daily 10 am – 5 pm.

"The Gods of Eight Attacking Garuda," Pan Seken 2                           “The Gods of Eight Attacking Garuda”  – Pan Seken


“Poem of Colors” – ISI Denpasar

20160804_185832                                                 “Biota Laut” 2016 – Ketut Murdana

A formal gathering of members of Balinese royal families, officials and teachers from Bali’s art education institutions, along with the Bali art community at the Neka Museum, Ubud 26 July celebrated the exhibition opening of “Poem of Colors”.   As a part of the Fine Art Program of the Faculty of Visual Art and Design of the Indonesian Institute of the Arts (ISI) Denpasar the exhibition presents the work of thirty ISI teachers, past and present.

A college of the visual arts organized by the Ministry of National Education, ISI was established in 2003 and is an integration of the Indonesian Arts College (STSI) Denpasar and the Study Program of Art and Design (PSSRD) of the Udayana University of Denpasar. The Udayana University was established 1962 after an initial period as part of Airlangga University, the first university in Provincial Bali in 1958.

The exhibition of works by teachers from ISI Denpasar has been an ongoing event staged regularly during the past 3 decades. As Bali’s largest and foremost art institution the teachers and administrators of ISI Denpasar have helped shape the direction and development of Balinese contemporary art, along with the practitioners of Balinese traditional art.

20160804_101812                                                “Kala Baruna” 2016 – Tjokorda Udiana

Tjokorda Udiana works in the ISI Sculpture Department and has for many years been experimenting with paper to create a substrate which is an alternative to wood for craving. Out of his concerns for the environment, and the enormous amount of forest timber that each year is carved by traditional sculptors and utilized in making furniture in Bali, he has been driven to seek out a viable alternative. “Kala Baruna”, made from recycled paper and glues, and beautifully decorated with acrylic paints, takes the form of a monstrous four armed demon often depicted in Ogoh-ogohs and paraded during the end of the Balinese calendar year Nyepi festivities.

One of three female exhibiting, Sri Supriyatini presents “Menembus Batas” 2016 a beautiful mixed media work of depth and imagination. “My work is an interpretation of woman’s struggles to realize their dreams while living within a patriarchal cultural environment full of challenges,” she said. “These struggles are not only in the domestic arena alone, women also need to work hard to gain recognition for their other accomplishments as well.”

20160804_185646                                           “Menembus Batas” 2015 – Sri Supriyantini

“Menembus Batas” is a wooden partition decorated on both sides with narrative script and images to communicate Sri Supriyatini’s story in which a swan plays the leading role. Rich in cultural symboligy and aesthetic warmth the work is one of the highlights of the exhibition.

A lecturer at ISI Denpasar since 2000 Wayan ‘Suklu’ Sujana is a gifted artist whose name is well known within the Indonesian contemporary art circles. His commitment to the development of Balinese contemporary art extends beyond ISI to his home in Klungkung where he has founded Batu Belah Art Space. ‘Suklu’ presents two paintings that reveal his mastery of figurative studies. His figures, rendered in black acrylic and tint, are layered upon each other to create beguiling abstract forms. He includes masks within his compositions to add an extra imaginative element, while his use of negative spaces within the canvas become powerful visual elements as well. Paramount to Suklu’s creative journey is the need to strive for innovation and new artistic territory within his concepts, media exploration and inter disciplinary collaborative projects.

20160804_185049             “Istrahat Membicarakan Waktu Yang Lapuk” 2016 – Wayan ‘Suklu’ Sujana

Vice chairman of “Poems of Colors” organizing committee Dr. Wayan ‘Kun’ Adnyana exhibits a large and striking ink and acrylic composition “In Blossom”(190 x 290cm). Reflecting on Balinese religious rituals of both festivity and confrontation where participants often go into trance, the painting is a celebration of life, characterized by explosions of color, figures randomly dancing about in dynamic motion and written text the artist utilizes as a form of poetry and prayer.

Wayan Karja is well known for his contributions to the development of Balinese art as a teacher, art administrator and painter. Born in Penestanan in 1965 into a family of painters Karja received a wealth of local and international art education, studying in Switzerland, and Florida, USA, while locally at the School of Fine Arts, Denpasar, Udayana University in Denpasar. From 2002-04 he was head of the Fine Arts Dept., Indonesian College of the Arts (STSI), Denpasar and from 2004-08 as the Dean of the Visual Arts Department at ISI.

FullSizeRender(1)                                         “In Blossom” 2016 – Wayan ‘Kun’ Adnyana

Through his exposure to western abstract art in the international museums he visited while traveling in Europe and the USA he was inspired to approach Balinese abstract art with a fresh intellectual approach. “Cosmic Energy” 2016 is an excellent, pulsating example of Karja’s ability to create his characteristic abstract compositions that are contrasts between the landscape and the cosmos, while being both meditative and mysterious.

An unusual and distinctive composition is “Ibu Semesta” (universal mother) by Made Bendi (b. 1961 Denpasar). Careful attention is placed in flowing rhythmic forms that bring to life a scenario that depicts a mother figure wrapped a colorful costume in an imaginative realm representing both above ground and below. The mother is a potent symbol of authority, fertility and purity. “Linkaran Kehidupan” by A.A Gede Yugus is a flowing abstract composition that’s circular rhythmic motion draws the viewer’s eye from the outside into the inner focal point. Immediately captivating the colorful composition, according to the artist, is inspired by the journey of life and the challenges of finding self fulfillment and satisfaction.

20160804_184737                                                   “Cosmic Energy” 2016  –  Wayan Karja

One of the most imaginative works displayed is “Installation of Time: Viewing History from Present” a mixed media installation by Made Jodog. It features a desk with a book that includes Jodog’s abstract expression upon the printed text, while positioned above the desk is a video screen. “The idea of the installation is that time has been divided by zones, past-present-future,” said Jodog. “Often we view history by going into the past, yet I offer through my work another way of viewing history, by viewing it from present, because we can not go into the past.” A hand flicks backwards through the colorful pages of the book inspiring our sense of curiosity. Our engagement with Jodog’s video is both mysterious and captivating.

Other works of note are “Gadis Bali” by Nyoman Marsa, “Biota Laut” by Ketut Murdana, “Ke Pura” by Made Subrata, “Topeng” – Gusti Ngurah Putra and “Taman Tirta Gangga Karangasem Bali” by Wayan Gunawan. “Poem of Colors” continues through until 26 August 2016 at Ubud’s renown Neka Art Museum.

20160804_101949          “Installation of Time: Viewing History From the Present” 2016  – Made Jodog

20160804_185350                                          “Ibu Semesta” 2016 – Made Bendi Yudha






The Bali Art Scene 2016 – An Overview

Citra Sh"Torment"

“Torment”  2015 – Citra Sasmita one of the strongest works from the ‘Bali Art Intervention #1’ “Violent Bali”

This overview looks back over the past six months (and more) at exhibitions and happenings of note in the Bali art scene which in the past year has witnessed some critical infrastructure developments.

Closing out 2015 ‘Bali Art Intervention #1’ “Violent Bali”, open 10 November at the Tony Raka Art Gallery in Ubud, featured the work of 60 artists, and was the strongest collective showing of contemporary art in Bali since July 2013’s “Irony in Paradise” by Sanggar Dewata Indonesia at ARMA. Slated to run for a month the exhibition continued into the new year and works by Citra Samsita, Wayan Wirawan, Agus Cahaya, IB Putra Adnyana, Pandi Acmadi, Tatang BSP, amongst many others were worthy of mention.

Made Budhiana. "In the Darkness of Night" Image M. O'Riordan “In the Darkness of Night” 2015 – Made Budhiana from the “Cruise Control” Exhibition

“Cruise Control Indonesia – Top End Artist’s Camp Exhibition” 23 January – 13 February 2016 at the Northern Center of Contemporary Art (NCCA) in Darwin, Australia showcased the some of the fruits of the 2015 Artist’s Camp, an engagement by 6 Indonesian artists in the Northern Territory (NT). For five weeks Made Budhiana, Wayan Wirawan, Made Sudibia, Made ‘Dalbo’ Surimbawa and Ni Nyoman Sani from Bali, and East Javanese artist Suryani were guests of the government of Northern Territory and were exposed to foreign lands and societies, and delved creatively into new visual and conceptual territories.

The biannual Artists Camp, which was first held in 2012 in the NT, and then with two subsequent Camps in Bali (2012 & 2014) is the initiative of Australian art lover Colin MacDonald and Made Budhiana, working with the NCCA, expanding upon the original modal of the Artists Camp that first began back in 1978. The exhibition displayed some outstanding works of cross-cultural engagement and its success in underlined by the support the Chief Minister of the NT government and the Commonwealth Bank of Australia. Despite international political relations between Indonesia and Australia recently weathering stormy seas, art and cultural remain the most important and enduring engagements between the two countries.

TiTian Art Space. Image by Richard Horstman                 TiTian Art Space – Image Featuring works by Teja Astawa & I.B. Purwa

Merging perceptions and practices from the past with the present, along with an innovative vision for the future, Yayasan TiTian Bali (YTB), a new art foundation launched 29 January 2016 at Bentara Budaya Bali cultural center, is setting out to revolutionize Balinese art. Inaugurated on the 80th anniversary of the founding of the PitaMaha artists collective in Ubud, the Balinese artist co-operative TiTian Art Space, located on Jalan Bisma Ubud, will help transform artists into art entrepreneurs within the creative economies.

The brain child of the former 20 years volunteer curator and international liaison officer for Puri Lukisan Museum, Soemantri Widagdo, exhibitions hosted this year have showcased some of the finest Balinese traditional and contemporary artists such as Teja Astawa, IB Purwa, Made Griyawan, Aris Sumanta and Gede Widyanatara to name a few. The June “Traces Under the Surface – Batuan Painting Exhibition” set 3 generations of Batuan painters from one family side-by-side in a unique expose into the development of Batuan painting. The regular series of exhibitions and workshops along with the revolutionary vision of YTB are an exciting and important addition to the Bali art infrastructure.

With plans to build a Museum of Contemporary Art (Bali MOCA), an international class museum located in Ubud, within the next ten years, exhibiting both old and new work of the highest quality, YTB expects to inspire new directions and achievements in Balinese art, while being the premier hub for Balinese visual arts by 2021.  Balinese traditional art is undergoing an exciting revival underpinned by fresh young talent and strategic collective activity, for example in Batuan led by the formation of the Baturlangan Artist Collective of Batuan.

With the mission to place Balinese art on global platforms the welcome addition of  YTB to the Bali art scene will aid in future consolidation of the current flourishing of Balinese traditional painting. The 21st century ushers in a new paradigm of global thinking and the art world is responding and evolving especially due to the impact of the internet and social media which is empowering individuals to develop global brands and presence. Yayasan TiTian Bali is building a new eco system for Balinese art for the 21st Century.

A.A Gede Anom Sukawati-"Tari Joged Bumbung". Image courtesy of Larasati“Joged Bumbung” 2008 – A.A Gede Anom Sukawati featured in the 1oth Anniversary Larasati Balinese Modern Traditional & Contemporary Art Auction at ARMA Ubud.

Results of the special 10th anniversary Larasati Balinese Modern Traditional & Contemporary Art auction at ARMA 28 February confirm that the market for Balinese traditional art is growing steadily while providing excellent value through the low to medium and high price ranges. Emphasizing quality over quantity the 81 items birthday sale featured a parade of beautiful works including sketches, watercolors, wood carvings and paintings by “Old & Young” Balinese masters.

During the past decade, with two auctions per year in Ubud Larasati have opened up an international forum for the trade of high quality traditional Balinese works, especially paintings. By introducing professionalism of an international standard that Bali had yet to experience in its art dealings Larasati has helped create a real, healthy market for traditional Balinese art. The auction included works by popular artists I.B Made Poleng, Gusti Lempad, Made Sukada, A.A Gede Anom Sukawati, and I.B Nyana to name a few.

A feature of the sale was Larasati Auctioneers providing for the first ever real-time data over the internet allowing easy, direct access to buying opportunities for a global audience. The auction audience revealed more foreigners in attendance than Indonesians being a testament to the developing international market of the Balinese art which is considered by experts to be undervalued. Larasati CEO Daniel Komala confirmed that the outcome of first ten years of auctions have exceeded all expectations.

I GAK MURNIASIH - SEDANG ACTION - AOC - 100 x 100cm - 2003                                                  “Sedang Action” –  I GAK Murniasih

“Merayakan Murni / Celebrating Murni”, a project gathering local and regional artists to create works in response to the legacy of the iconic female Balinese artist I GAK Murniasih (1966-2006) “Murni” started 8 December 2015 at the innovative new art space Ketemu Project Space in Sukawati. Punctuating the beginning of the 6 month plus program of events, culminating with the group exhibition at Sudakara Art Space Sanur 16 July 2016, the 8 December event was an intimate evening of discussions.  Featuring friends and colleagues of Murni’s, while introducing some of the breadth of her work, and the schedule of up coming events was reveled that included artist in residency programs and curator discussions. This highly anticipated exhibition will be the most important of the 2016 art calendar.

AJI02649_1-1_LR“Forgotten Optical Satsuma Filters” – Ashley Bickerton at Rumah Topeng dan Wayang Setiadharma

Kayu, a series of exhibitions that began in 2014 presented by French art worker Lucie Fontaine at Rumah Topeng dan Wayang Setiadharma in Mas, has been a highly valuable contribution to the appreciation of contemporary art in Bali. Organized and curated by Italian artist and Ubud resident Marco Cassani, Kayu showcased both local and international artist in cross cultural collaborations, group and solo exhibitions. Kayu aims to support the growth and awareness of contemporary art in Indonesia through experimental and conceptual projects and operations as an incubation facility to give the opportunity for information and knowledge exchange between Bali and Indonesia with the outside art world. Projects have included artists Corrado Levi, Radu Cosma, Entang Wiharso and Luigi Ontani.

The exhibition space at Rumah Topeng, a traditional Javanese teak warehouse is a unique setting for the presentation of contemporary art allowing the ambience of cultural design elements and raw timber to enhance the presence of the art. Despite not being well attended by the local art community, importantly Kayu allowed an opportunity for people to enjoy art in an alternative exhibition setting, in contrast to the often “sterile” gallery spaces, while positively contributing to the viewer experience. The program culminated in April with Ashley Bickerton’s first ever solo exhibition in Indonesia “Forgotten Optical Satsuma Filters” that featured his experimental “non commercial” color creations.

DSCF4872             “King Udayana : A Visual Epic” 2016 – Ketut Budiana at Bentara Budaya Bali

The historical collaboration between the Udayana University of Bali and the Bentara Budaya Cultural Center, Denpasar on Friday 15 April highlighted a landmark event in Balinese painting, presenting the works of Balinese master artist Ketut Budiana. Officiated by the Governor of Bali, Made Mangku Pastika, the exhibition “King Udayana : A Visual Epic” featured an enormous narrative canvas, 8339 x 140 cm spanning the walls of the pavilion paying homage to the lifetime journey of the 10th century Balinese King Udayana.

Budiana invited the audience to wonder clockwise around the pavilion to engage with this poetic work laid out in such as way as to occupy the four directions of the compass, with their respective gods, and colors, symbolically linking the human existence with the cosmos. Often described as a “fantastic’ painter” Budiana communicates stories that appear to come from the subconscious in dream like imagery that often evolves from swirling clouds of energy. Post exhibition the work was installed within the Rectorate’s hall of the Udayana University in Jimbaran.

13173813_10153830185898778_8308656514481768488_n     “Kartini” – Cherographed by Jasmine Okubo, May 2016, image by Dewandra Djelantik

Long time collaborator with Indonesian artists, Japanese choreographer, dancer and performer Jasmine Okubo continues to push the art performance genre into new and exciting realms. Her performance during the opening of Rie m’s April exhibition “Conexion & Contradiccion” at the Villa Pandan Harum, Ubud was captivating, as were other during the year. While Rie’s exhibition of cross cultural infusions was outstanding, and importantly introducing the art of collage in a fresh and highly sensitive manner to the local art community, Jasmine’s performance, melding the futuristic aesthetics with Balinese and Japanese flavors typifies her extraordinary talent.

Okubo’s 5 June performance at Rumah Sanur in a silent enclosed space brought into dynamic, otherworldly life with excellent visual aesthetics via video mapping during the Art Ritual, themed about the transition from WATER to AGNI for the 2017 Sprites Bali Art & Creative Biennale broke new ground for the performer and the audience alike.

DSCF5736                               “Questioning Balinese Painting” 2016 – Kemal Ezedine


Neo Pitamaha art collective headed by Gede Mahendra Yasa and Kemal Ezedine brings a fresh, strategic, intellectual approach to the art explorations in the historical development of Balinese traditional painting. Beginning in 2013, inspired to investigate a new paradigm of Balinese painting, since 2014 they have been exhibiting in high-profile events in Bandung, Semarang and ArtJog in Yogyakarta. During 2016 they have been increasingly focusing their attention outside of Bali especially engaging with curators, collectors, along with larger audiences. Mahendra Yasa and Ezedine both held solo exhibitions at Langgeng Art Foundation, during the Jogja Art Weeks June/July art extravaganza for the local and international audiences gathered in Yogyakarta for the opening of ArtJog9.

The Neo Pitamaha’s critical and strategic approach is building positive momentum, importantly raising the bar of what Bali based collectives may achieve, while setting a potent example for others to learn from. Ezedine’s enormous 2016 mural project, highlighting his graphic illustration and dynamic color design skills, upon ceiling panels of the café dining area the new Artotel in Sanur is a visual feast for the eyes while helping to define the uniqueness of Bali’s first art themed hotel.

DSCF4884Detail from Mangu Putra’s 2016 painting of the 1906 Pupatan in Denpasar at Gwangju Art Museum, South Korea

Social issues and important Balinese historical events are themes close to Mangu Putra’s heart. In the May 2016 “In Comenmoration of the 36th Anniversary of the May 18th Democratization Movement 2016 Asian Democracy, Human Rights, Peace Exhibition – The Truth To Turn it Over” at the Gwangju Art Museum, South Korea he exhibited his painting of the 1906 Pupatan in Denpasar  Bali. Following from his research early in 2016 he reconstructed a scene post puputan killings that depicts leaders of the Dutch military battalion posing with the body of the Raja of Denpasar.

IMG-20160609-WA003       The WOI (Wall of Indonesia) Exhibition at Bloo Art Space, Padang Bai, East Bali

The prevalence of artist run initiatives such as Cata Odata in Ubud, Ketemu Project Space (who via their regional approach, professionalism and highly structured methodology have raised the bar high in Bali for others to be inspired), Luden House in Ubud, and the recently renamed Bloo Art Space located at the Bloo Lagoon Eco Resort and Villas in Padang Bai (also managed by Cata Odata), have become major forces within the development of art in Bali. While these community focused organizations embrace and grow through the dynamic connectivity of social media and the internet what is essential is that there are venues outside of the gallery commercial modal that continue to grow and survive as essential pillars of the art infrastructure in Bali.






WOI – Wall of Indonesia

IMG-20160609-WA003                                                        WOI Display at Bloo Art Space

Bloo Art Space, located at the Bloo Lagoon Bali Villas and Resort for Sustainable Tourism in Padang Bai, Karangasem, has become THE center for art in East Bali. Based on an eco artists village concept, the resort is the brainchild of architect owners Tony G. William and his wife Marita, and its gallery has been presenting regular programs of events over the past four years. This year, however the gallery has become known as Bloo Art Space, under management by Ratna Odata and Kenyut of Cata Odata in Ubud (who have steering the venues artistic vision for the past three years).

WOI – Wall of Indonesia, a Progressive Art Exhibition 7 May until 14 July culminating with an Artist’s Conversation brings together the work of 18 Indonesian artists, communicating about identity and what it means to be an Indonesian artist, is the current Bloo Art Space event.

20160702_132305#1Art works by DP Arsa, Koman Sindu Putra, Wai Santy, Citra Sashima & Nyoman Suyadnya

The WOI curatorial statement posed the following:

“Is it appropriate for an artist to bear a geographical title where the socio eco political climates must put into context in order to appreciate the work of art? This question becomes more perplexing by the fact that the Indonesian visual arts were built on the basis of western theory being taught in every formal art institution in Indonesia.”

““The Living Wall” within the Bloo Art Space will gradually be filled with artworks by the WOI artists during the duration of the exhibition. Dubbed ‘living’, the WOI shows the steps taken within the 2 month journey starting from the artists’ studio all the way to exhibiting at Bloo Art Space,” said Ratna Odata.

20160702_132202#1                                      Dibal Ranuh – ‘Tambora Tersenyum’ Digital Phtography

Beginning with the 1st wave on 7 May when the WOI opened, empty walls were the feature of the Bloo Art Space. Endeavoring to encourage casual and spontaneous dialog between the artists and audiences, the audience were invited to be participants with the artists Wai Santy, Gede Sayur, Agustian, Budi Agung Kuswara and Nyoman Suyadnya in the process of displaying the works on the walls under the guidance of the Cata Odata curatorial team which included writer Dwi Wibowo.

The artworks from each artist were not be placed together, instead were spread throughout the gallery adopting the visual style of a salon art display were works cover the entire wall space from floor to ceiling. During the proceedings of the event other 3 dimensional art works are placed on the floor allowing WOI to take on a larger art perspective.

“During this unique process we are inviting the artists to synergize and work together as a community, suspending their egos of seniority and juniority,” said Ratna. “The placement of the art works is not based on, or neither reflects the artist’s career achievements.”

20160704_180611Figurative Sketches on Paper by Koman Sindu Putra, Sketches Upper Right by Diyano Purwadi & Abstract composition by Ketut “Kaprus” Jaya.

As a part of the process from the artist’s studio to the Bloo Art Space each of the artists is filmed and a one-minute video clip posted on Facebook granting interesting insights into the artists creative process, and their identity as an Indonesian artist.

“Art is abstract, universal, and liberal. When an artwork speaks for its author we will realize that the taste and experience portrayed in it is relative,” says DP Arsa. “Because all these are liberated by the artist the idea of beauty becomes something that is subjective.” One of Bali’s leading contemporary art photographers and based in Denpasar, Arsa presents his art 3 works which are a fusion of images processed on Photoshop.

Another photographer, Dibal Ranuh, on the other hand, presents a display of black and white digital images, a photo essay investigating identity featuring the smiling faces of over 300 people (and one horse and goat) that he met during his recent visit to the East Indonesian island of Tambora.

20160702_132437#1Metal Sculpture by Agustian, paintings by Made Bayak, Citra Sasmita, Made Griyawan, Budi Agung Kuswara, Anwar Djuliadi, Wai Santy and  Nyoman Suyadnya

Colorful, mixed media three-dimensional wall hangings in the form of masks are by Balinese artist Rio Saren. Citra Sasmita’s presents both paintings and one figurative aluminum cut out form in her characteristic styles that ‘talks” of the plight of women in Bali. Batuan traditional artist Made Griyawan exhibits some of the exciting new wave of traditional art that is evolving in Bali.

Three cut out wood prints on cloth displayed on bamboo frames to represent figurative forms are the contribution by female artists Ni Luh Pangestu from Denpasar, who is currently studying at the Indonesian Art Institute (ISI) Yogyakarta. Three dimensional metal sculptures by Agustian taking the form of four legged animals made from scrap metal, car parts, tools, bolts, spark plugs, springs and pedals, featuring heads made from type writer keyboards are a special feature of WOI and both artists works add an extra, interesting dimension to the exhibition.

20160704_201731                   Artworks by Nyoman Suyadnya, Rio Saren and Anwar Djuliadi

Made Bayak presents works in a new series of creations under his multi dimensional theme “Plasticology” whereby his works are made from plastic trash that are layered then painted over with stencils and acrylic paints. “Plasticolgy” also includes workshops focusing on the environmental issue of discarded trash in Bali which he presents to schoolchildren throughout the island, along with other groups. also involving area trash clean ups, then making art works from trash.

Koman Sindu Putra presents two large figurative sketches in charcoal on paper that are spontaneous studies of people dressed in traditional attire and reveal his strong sketching skills. He also exhibits two works in his trademark style in which he builds the surface of the canvas with the embossing technique and recreates portraiture images of Bali’s past eras. Wai Santy, a female artist from Denpasar who has been studying European techniques of figurative and portraiture oil painting presents three compositions that feature her painterly style and add an important emphasis to painting based on strong, skilled techniques.

20160704_184436                               Cut Out Wood Print on Cloth by Ni Luh PAngestu

The artist’s conversation on the afternoon of 2 July featured the 18 WOI participating artists, the theme concerning the identity of Indonesian artists was explored, the goal being to enrich the dialog about art in Indonesian so that it can contribute to the search of the Indonesian visual art identity.

“Advances in modern technological have enabled us to see, hear, do and learn more than our predecessors. These shifts have led us to become globalized where we share something in common with the rest of the world, be it economically and culturally,” said Ratna Odata, summing up one agreed outcome of the artist’s discussion.

“This was the first time all 18 artists met each other and shared their perspective of Indonesia and their artistic journey. Even though 2 months is too short to answer all the questions we’ve raised about Indonesia, we should see the conversation as part of the research that can be used to determine our next step.”

“Globalization is not an excuse to forget and abandon what we already have and learned in almost 71 years that unity has been achieved in diversity. We believe that being local is already being global, that differences should not be seen as a menace, but as a blessing.”


WOI Schedule:

1st Wave of the ‘Living Wall’, Saturday 7 May: Wai Santy, Gede Sayur, Agustian, Nyoman suyadnya & Budi Agung Kuswara.

2nd Wave of the ‘Living Wall’, Friday 20 May: Oka Astawa, DP Arsa, Ketut ‘Kaprus’ Jaya & Anwar Bjuliadi.

3rd Wave of the ‘Living Wall’, Saturday 4 June: Rio Saren, Ni Luh Pangestu, Diyano Purwadi & Made Griyawan.

4th Wave of the ‘Living Wall’ Thursday 9 June: Koman Sindu Putra, Citra Sasmita, Dibal Ranuh & Cahyo Basuki ‘Yopi’.

WOI continues through until 14 July 2016.

The Bloo Art Space, located in the Bloo Lagoon Bali Villas

and Resort for Sustainable Tourism

Jalan Silyakuti Padang Bai, Karangasem

Ph: 036341211

Open Daily 9:00 – 21:00




Militant For Happiness :)

Edy Asmara "Melody of the Earth" 2016, 150x200cm Acrylic               Edy Asmara – “Melody of the Earth” 2016, 150 x 200 cm, Acrylic on Canvas

On 21 June 2015 the new Bali collective Militant Art announced its arrival on the scene with a memorable evening at Bentara Budaya Cultural Center in Ketewel. The event was one of the highlights of the year.

The opening performance and presentation involved the skilled work of various technical production teams, along with live music and a captivating installation to produce a visually rich and engaging spectacle. The large audience of art lovers were treated to a professional, tightly synchronized event and the buzz of excitement within the crowd was palpable. We were witness to something a little out of the ordinary.

Putu Bonuz " Tarian Langit" 100x200cm Acylic               Putu ‘Bonuz’ Sudiana – “Tarian Langit” 100 x 200cm, Acrylic on Canvas

The exhibition “Ulu Teben” #1 Militant Art featured 30 paintings, all of uniform size 250 x 130 cm, some of the strongest work displayed by a group in recent memory. The event sent a positive message to the art community of the collective capabilities of Bali artists.

Celebrating one year as a collective Militant Art’s follow up exhibition “Militant For Happiness” #2 opened 21 June at the CLC Education Center in Kerobokan. Curated by Eddie Soetriyono and Arif Bagus Prasetyo, and organized by Nico FK of Zen Nagrisco Utama of Tuban, Denpasar, specialist services in Bali for art cargo and framing.

Gede Jaya Putra 'Rival" 173x155cm Oil                                         Gede Jaya Putra – “Rival” 2014, Oil on Canvas

Artists A.A Gde Agung Jaya Wikrama, Adi Candra, Antok, Atmi Kristiadewi, Dangap Agus Murdika, Kadek Eko, Edy Asmara, Galung Wiratmaja, Gede Jaya Putra, Gusti Buda, Ketut ‘Kabul’ Suasana, Made Supena, Ida Bagus Purwa, Nyoman Diwarupa, Kadek Dwi Adnyana, Ketut ‘Le Kung’ Sugantika, Listya Wahyuni, Made Gunawan, Made Wiradana, Naya S, Ngurah Paramarta, Nyoman ‘Sujana’ Kenyem. Pande Paramartha, Pande Suta Wijaya, Putra Dela, Putu ‘Bonuz’ Sudiana, Somya Prabawa, Teja Astawa, Uuk Paramahita, Wayan Suastama and Wayan Paramarta presented their works over the two floors of CLC to an enthusiastic audience on the opening evening.

Ketut 'Le Kung' Sugantika "Balance #1" 140x220cm Acrylic             Ketut ‘Le Kung’ Sugantika – “Balance” 2016, 140x220cm  Acrylic on Canvas

“Breath of Nature” 2016 by Dangap Agus Murdika (b. 1989, Gianyar) reveals he is abstract style is in the process of development. He introduces textured surfaces along with depth of field to his characteristic style to create a work that is visually engaging. Putu ‘Bonuz’ Sudiana’s “Tarian Langit” captures the artist at his dynamic best, while “Bosan” (Bored), by Putra Dela blends elements of realism and abstract, and the color blue to emphasize emotional potency. This is a captivating and  intriguing work.

Gede Jaya Putra (b.1988 Seminyak) is a young multi disciplined artist who over recent years shows great promised. His solo exhibition in 2014 at Art Verandah in Renon as a part of his final studies examination at the Indonesian Art Institute (ISI) Denpasar proved to be a revelation to many in the Bali art community displaying his high level conceptual and technical abilities. His composition “Rival” features two racing motorcyclist painted onto canvas and fastened to board and the cut out shapes attached directly to a white-painted frame.

Ketut 'Kabul' Suasana "KulKul" 150x170cm Acrylic                    Ketut ‘Kabul’ Suasana – “KulKul” 2016, 150x170cm, Arcylic on Canvas

Edy Asmara  continues to grow as an artist and his “Melody of The Earth” 2016 is strong in concept and execution, while being atmospherically warm and inviting. Edy is an artist with a promising future and his painting is a highlight of the exhibition. Likewise Edy’s wife, Atmi Kristiadewi (b.1990 Denpasar) presents an engaging work in her characteristic colourful and vibrant style, “Persiapan Menyabut Hari Raya” and is consistently exhibiting works of good quality and has a promising future as well.

“Our art will always be creative, never-ceasing to contribute and enrich the Bali art scene. “Militants For Happiness” is an expression of our pride as an art collective,” said Putu ‘Bonuz’ Sudiana, Chairman of the Militant Art Collective. “We are always optimistic, despite the many environmental, social and political struggles humanity must globally endure. We wish to make a statement and emphasize that being happy is an essential, and powerful way of life.”

Anthok S "imajnation" 2016 150x120cm, Oil                               Anthok S – “Imajination” 2016, 120x150cm Oil on Canvas

“Peacefulness” 2016, by Kadek Eko (b.1989 Denpasar)  is refreshing in composition structure, atmosphere and emotional content. One of the only alternatives works on display, outside of the 2 dimensional format  is “Lost Paradise”, by Made Dwi Adnyana (b.1985 Kintamani). An environmental statement that includes small curved branches that frame small snap shots of Adnyana’s colorful landscapes.

Painters Teja Astawa, A.A Gede Agung Jaya Wikrama  and Ngurah Paramarta take their influences from Balinese traditional painting. Paramarta (b.1974 Denpasar) draws from imagery from Batuan paintings circa 1930’s in “Penghuni Pohon” in his light-hearted take on the Balinese world of sekala/niskala (the unseen and the visible) along with animistic beliefs in his stylized composition with the spirit of a tree communicating with a startled woman sitting nearby.

While this years exhibition is not as strong as 2015, it nonetheless sends a powerful message vis its title “Militant for Happiness” that happiness is a wonderful and empowering prerequisite for life especially in this era of the politics of fear .


Made Dwi Adnyana – “Lost Paradise” 2016, Mixed Media

CLC Education Center in Kerobokan, a community education facility, which includes programs art and culture within its curriculum and social activities began its support of the Bali art community in January 2015. The group exhibition “Art as Perspective” curated by Eddy Soetriyono and Arif Bagus Praestyo presented the work of 30 local artists. The urban Kerobokan area has a large residential population yet few cultural venues and the presence of CLC Education Center is very welcomed in the development of the art infrastructure in Bali.

Recent art activities at CLC Education include a series of art lectures “Life As Art Indonesia” on the first Thursday of the month over four months beginning at 6pm.

20160622_105917Atmi Kristiadewi – “Persiapan Menyambut Hari Raya” 2016, 100x135cm Acrylic on Canvas

Galung Wiratmaja "Greaen Soul" 145x130cm Acrylic              Galung Wiratmaja – “Greaen Soul” 2016, 145 x 135cm, Acrylic on Canvas

Kadek Eko "Peacefulness" 130x150cm Acrylic 2016                   Kadek Eko – “Peacefulness” 2016, 130 x 150cm, Acrylic on Canvas


“Militant For Happiness” continues until 21 July 2016

Open Daily 10am – 7pm

Tele: +62 82147488835

CLC Education

Jalan Gunung Salak Utara #79

Kerobokan, Denpasar






Traces Under the Surface: Batuan Painting Exhibition

Taweng, I Wayan - The Unlucky Monkey, 51 x 33 cm, Acrylic on Paper, 2000             Wayan Taweng – “The Unlucky Monkey” 2000, 51 x 33cm, Acrylic on Paper

The teacher pupil relationship has been an essential ingredient within the development of Balinese traditional art. Originating back hundreds of years with the classical wayang style of Balinese painting, through to the individual village styles or ‘schools’ that emerged during the 1930’s, knowledge and techniques have been generously handed down through the ages, and generations.

“Traces Under the Surface: Batuan Painting Exhibition”, open 3 June -31 July at TiTian Art Space in Ubud explores artistic lineage that evolved in the renowned village of Batuan. The teacher/student relationship under investigation follows on from the iconic painter Nyoman Ngendon (1906-1946), a multi talented artist, freedom fighter and probably the first art entrepreneur in the 1930s. An innovator who was quick to experiment with perspectives, creating “unreal” 3 dimensionality within the early rigid framework of the Batuan paintings, Ngendon believed in sharing his techniques and persuaded his students to break with traditions and become art innovators themselves.

Nyoman Ngendon 1906-1946

American author and Bali resident for 30 years, Bruce Gransquist, in his beautifully presented book “Inventing Art, The Paintings of Batuan,” on pages 112-113 carefully documents a chart depicting lineage and tutelage of the historical “family tree” of Batuan painting. Here we can find Ngendon and his association with his students.

Wayan Taweng (1922-2004) learned to paint primarily from Ngendon, beginning at the age of eight, and later taught his sons Ketut Sadia (b.1966), Wayan Diana (b.1977) and Made Griyawan (b.1979), along with others. Taweng learned coloring techniques from Rudolf Bonnet (1895-1978) the Dutch artist responsible for the introduction of portraiture and studies of the human anatomy into the new genre of art that blossomed from the 1930’s onwards – Balinese modern traditional art. It is the paintings by the for mentioned four Balinese artists, and Taweng’s grandson Gede Widyantara (b.1984) on display at TiTian Art Space.

Sadia, I Ketut - Blending of Japanese and Balinese Tradition, 100x 80 cm, Acrylic on Canvas, 2013        Ketut Sadia – “Blending Japanese and Balinese Tradition” 2013, 100 x 80 cm

The single work on display by Taweng, “The Unlucky Monkey”, 51 x 33 cm, acrylic on paper, 2000 is a popular story taken from the Balinese Tantri. Tantri depict animals as guru’s and story tellers in tales designed to teach good moral conduct.

This painting is an extraordinary example of Taweng’s skill, and his attention to the finer details of composition structure and balance. His palette is restrained in the dark greens of the landscape and flora, and the greys of the ocean and bodies of water, in complimenting tones. Nonetheless the work is pulsating with life, in the rhythmic motion of the water, the activity of the numerous animals, and birds in flight. Less is more with Taweng’s choice of lighter, brighter colors which he uses simply to depict small flowers in the trees and shrubs. Juxtaposed against the darker colors, the contrasting flowers immediately catch the eye.

Diana, I Wayan - Eruption, 250 x 90 cm, Acrylic on Canvas, 2015             Wayan Diana – “Eruption” 2015, 250 x 90cm, Acrylic on Canvas

The thirteenth son of Taweng, Wayan Diana was a finalist in the Jakarta Art awards in 2008 and 2010, and presents 2 works in this exhibition. “Eruption” 2015, an enormous 250 cm wide by 90 cm high, and is a spectacular work. Volcanic eruptions are a natural way of life for the Balinese and within the upper right hand corner of this incredibly detailed composition Diana depicts smoke and ash and the explosive blast showering the landscape. Animals and people are depicted both fleeing from the impending disaster and reacting with awe.

Ketut Sadia’s “Blending of Japanese and Balinese Tradition” 2015 depicts two super sized Sumo wrestlers battling it out within the ring. Surrounded by a large and excited audience featuring Japanese tourists complete with cameras, while the Balinese support the show by performing a Kecak dance. Rhythm is an essential facet of Balinese life, and the visual rhythm of Balinese traditional painting is one of the many features that can be read within a work.

Pulsating with life, Sadia structures the composition in order to encourage the observer’s eyes to move quickly around the canvas in circular motion, moving from the exterior into the inner depths of the composition to focus on the wrestlers. An avid observer of domestic and international affairs, often reflected in his narratives, and in this work Sadia emphasizes the element of fun and play, which is also a key ingredient to the Balinese way of life.

Made Griyawan ' The Unlucky Monkey"             Made Griyawan – “The Unlucky Monkey” 2016, 25 x 25 cm, Acrylic on Paper

Made Griyawan exhibits 3 paintings in this exhibition, “The Path to Enlightenment” 2012, is a perfectly balanced and rthymic composition revealing the three different levels of consciousness that can be achieved by increasingly balancing positive and negative human energy according to the Balinese Hindu philosophies. “Bali Buldoser” 2009 presents environmental destruction at the hands of unscrupulous people, yet it is his smaller work, “The Unlucky Monkey” 2016 25 x 25 cm, is a highlight of the exhibition. In contrast to his father work of the same title Griyawan zeroes in on the two main characters the monkey with its tail entwined with the tigers’.

In contrast to his fathers highly detailed, busy composition, as well “The Path to Enlightenment” Griyawan’s composition reveals minimal, controlled use of finely detailed, rhythmic lines, which so much a common feature traditional painting. However his uses of color washes that are uneven and free introduce a modern sense of rhythm to the work that is immediately noticeable. A sense of ‘space’ becomes a feature of the work while the structural forms of trees and flowers are allowed to compliment the focal subjects.

Widyantara, I Gede - Late Hero, 115 x 81 cm, Acrylic on Canvas, 2015               Gede Widyantara – “Late Hero” 2016, 115 x 81 cm, Acrylic on Canvas

At 32 years of age Gede Widyantara is an exciting young talent. “Late Hero” 2015 depicts Superman arriving too late on the scene of the 9/11 NYC twin towers disaster. Yet his painting has been purposely hang upside down by exhibition curator Soemantri Widagdo to reveal an image of Boma, the iconic benevolent spirit, son of the earth that the watches over the Balinese village and is the guardian of temples whose images is often found above the inner temple gates.

Widyantara, I Gede - Late Hero, 115 x 81 cm, Acrylic on Canvas, 2015            Hang Upside Down Widyantara’s Composition Reveals the Image of Boma

Widyantara’s second work “Corruptor Mask” 2016 depects an enormous topeng (Balinese traditional mask) with big eyes and a smiling face, complete with a tiny body garbed in a suit and tie, the uniform of the business man and politician, yet the symbolic face of corruption in Bali. Above the face Widyantara depicts bundles of cash and rats. Politikus is the term in bahasa Indonesia for corrupt politicians, the word being the combination of two – politics & tikus (rat).   Local politicians often  make promisses during an election campaign yet never fulfill any once elected, borrowing and spending a lot of money to buy the votes, makes the winners succumb to corruption to repay their debts.

Widyantara represents the exciting new generation of Batuan artists and is testiment to the vision and mission of the Batuan artists collective, Baturlangan – which is nurturing young talent; the future of Batuan traditional painting.

Widyantara, I Gede - Corruptor Mask, 60 x 40 cm, Acrylic on Canvas, 2016                  Gede Widyantara  – “Corruptor Mask” 2016, 60 x 40cm, Acrylic on Canvas

“Traces Under the Surface: Batuan Painting Exhibition”, continues until 31 July2016.

For further information, contact:

Luh Resiki

TITIañ Art Space

Jalan Bisma, Ubud

Open 10 am – 7 pm
Ph:      0822-14-400-200
Fb:      Titian Art Space












Nitibumi – Managing the Earth

Butus                              Wayan Redika – “Butus 73-93” 2016, 200 x 200 cm, Mixed Media

Open 3 – 11 June at Bentara Budaya Bali Cultural Center, Denpasar, “Nitibumi” (Managing the Earth) presents work from a new association of contemporary artists in Bali who have a distinctive mission.  The Nitibumi collective began after discussions by a group of artists, participants in the 2015 Beijing International Art Biennale, in response to the challenges they face in developing their careers.

In October 2015 Wayan Redika, Made Wiradana, Made Supena, Loka Suara, Teja Astawa, Imam Nurofiq, Galung Wiratmaja, Nyoman ‘Kenyem’ Sujana, Made Gunawan, Uuk Paramahita, Bambang Putu Juliarta, Pande Alit Wijaya Suta, and their journalist friend Ema Sukarelawanto formalized the Nitibumi community. Through this collective they endeavor to not only encourage creativity while raising the quality of their work, yet have an emphasis upon targeted networking with the various levels of local government and institutional agencies, and the broader community, to build relationships, and the foundations of fruitful working collaborations.

Imam Nurofiq_karya OK                  Imam Nurofiq – “Green Dictionary” 2016, 200 x 300cm, Acrylic on Canvas

Wayan Redika has experience in developing art communities with the Komunitas Seni Lempuyang in East Bali. “Butus” highlights his excellence in structure, technique and concept. Depicting environmental desecration caused by earth moving machinery that rip through the landscape that is driven by the modern development of Bali (the building of new hotels, houses and other projects), this work communicates a topic of major concern, not only to Nitibumi, but to locals, expats and visitors to the island.

Trees are an iconic symbol in the Indonesian state emblem and a banyan tree features on the coat of arms upon the chest of the mythical Garuda bird in the Garuda Pancasila. The pohon beringan (banyan tree) is a sacred symbol of the Balinese traditional culture that melds ancient animistic beliefs with local Hindu religious adaptations. Trees are often featured in compositions by Made Wiradana (b.1968 Denpasar), and “Illegal Loging” depicts man and machinery engaging in logging activity, yet tiny by comparison and being dwarfed by the omnipotent banyan tree.

Made Wiradana_karya OK                        Made Wiradana – “Illegal Logging” 2016, 200 x 300 cm, Miixed Media

Made Supena (b. 1970 Gianyar) has defined his name as Balinese abstract painter of note.  In his recent works he has added the aesthetic potency of silver and gold leafing to compliment his choice colors that are at the core of his expressive style. The carefully calculated areas of blank space on the triptych canvas of “Meruwat Cakaralawa” 2016, 200 x 300 cm, painted in soft greys, however, become powerful features of his composition, while bringing a strong sense of balance to the dynamic and rythmic work.

Javanese artist Imam Nurofiq contributes both paintings and an installation to the exhibition. “Bali Map” is a meeting of the rigid building construction forms with the flowing forms of nature and is centrally positioned within the exhibition pavilion being a interesting contrast from the 2 dimensional works displyed on the walls. An expressive painter, always with something to say, his style is a departure from the majority of the works in the exhibition and is both eye-catching and “Green Dictionay” 2016 is the vehicle for potent human emotions.

Galung Wiratmaja_karya ok                                                        Galung Wiratmaja – “Kita=….?”

Nyoman ‘Kenyem’ Sujana’s “To Be C Mining” 2016, 200 x 300 cm is more simplistic composition from his usual well-known signature style that utilizes various motifs to fully occupy his canvas’s. This work however depicts 3 of his trademark human figures ascending a volcanic peak, the landscape barren and extreme. ‘Kenyem’ also contributes an installation, “Bumi Sakit” which became the focus of response for the opening performances of the event by Japanese choreographer and dancer Jasmine Okubo and the rock band ‘MANU’.

“Harmony” 2016, by Made Gunawan, reveals his growing aesthetic and structural sense of composition and is a beautiful work. Uuk Paramahita’s ‘Harmony for the Earth” 2016, also reveals the develop his easily distinquished  and unique compositional style.

Teja Astawa_karya OK                              Teja Astawa – “Dewa Murka”2016, 140 x 300 cm Mixed Media

Bambang Putu Juliarta’s triptych composition “Reflexsi Konservasi” 2016 speaks intimately and directly to the audience. Set on a minimalist, dry and barren landscape the central line of cracked earth draws the observers directly to a cow on three-quarter side profile with one gazing directly out at the audience. Flanked on both sides is the mirror image of a woman holding a hose without flowing water, who also stares directly at the audience. The painting is engaging while expressing essential emotions.

Galung Wirtmaja’s  featured abstract composition “Kita=….?” (Us ?), 2016, 200 x 300cm is a highlight of the exhibition, while his smaller work, “Saksi” (Witness) 80 x 80 cm is equally as potent. Galung has developed a formula within his paintings via the power of suggestion. Not only is his choice of color and abstract forms dynamic, while exuding mystery and allure, the figures that he carefully positions in “Kita=….?” add a special , extra dimension. With their backs facing the audience, his characters seem to be peering into the midst of the unknown, inciting our curiosity, while inducing suggestion. Suggestion is a powerful trigger that opens the audiences mind and leads to possibilities. Both Galung’s paintings utilize the power of suggestion, making them both engaging and in a class of their own.

UUK Paramahita_karya OK                                                Uuk Paramahita – “Harmony for Earth”

In this technology driven modern era, with powerful social media tools and smartphone technology easily available, artists have immediate access to the international arena and growing audiences, while being increasingly empowered. The old paradigm of the middleman taking advantage of the opportunities available to him/her and exploiting both the artist and buyer is changing. The artists are now in the driver’s seat and enormous benefits are available to them.

If the artists, both individually and collectively are willing to engage their mind, learn new skills and approach their career development more strategically, certainly success in various forms is assured. Alternatively, they can engage in trusted professional art management. The future is unknown, yet exciting, and is full of opportunities.

Made Supena_karya OK                    Made Supena – “Meruwat Cakrawala” 2016, 200 x 300cm, Mixed Media