Featured post

Swedish Artist Richard Winkler at Home in Bali

Work in progress                             Richard Winkler at work in his Sanur studio

Swedish artist Richard Winkler’s creative development charts a course that isn’t unlike others who have settled in Bali. He has, however succeeded in doing what few foreign artists in Indonesia can do.  Art lovers and collectors quickly recognized Winkler’s talent and he created a niche within the large, yet difficult to penetrate, Indonesian contemporary art market.

Within his paintings Winkler creates a fantastic Balinese utopian landscape. His compositions feature figures, bulbous and distorted, that contain the extraordinary story of his own body and personal experience of having to cope with a rare bone disorder. From an early age painful boney growths continued to reappear on Winkler’s limbs and he had to undergo regular surgery to have them removed.

Farmers of the Blue Hills, 150x200cm, 2010. oil on canvas Richar Winkler.                                        Farmers of the Blue Hills, 2010

“These experiences taught me to love and honor the physical vehicle in which I was born. They have inspired me,” Winkler said.  “This has helped develop a resilient character, and given me an enormously positive outlook on life.”

Winkler’s figures reflect the creative nature of the human DNA that manifests in countless body forms and sizes, from obese to beautiful, and from the vigorous to the diseased.   “I resonate with the abstract nature of my figures. Subconsciously a part of me springs forth and then in the studio it comes to life through my works. It is my own unique creative process,” he adds.

Mother Earth, 2011, Bronze, 217Hx152Wx212D                                         Mother Earth, 2011

At a glance Winkler’s oil paintings are an amalgamation of subtle curves, delightful arcs suggesting nature’s perfect symbol – the circle. The exaggerated human forms that occupy his compositions feature bulging backsides, toros and limbs. His works are studies of balance and precision, enhanced by his perfect brush work technique.

Winkler’s coloration is never over powering, his rich environmental scenarios send tranquil messages. The soft greens and blues within his tropical locales contain delicate, soothing melodies. Occasionally he adopts contrasting colors, positioned to create aesthetic impact.

20160825_161839                                                  A Beautiful Afternoon, 2016

Rarely does Winkler utilize the potency of the straight line within his settings. When he does it will be the horizon line, that helps denote the composition’s depth of field, while delivering a jolt of tension within his “sea of curves”.

About 12 years ago Winkler was driven to transform his ideas into large three dimensional forms. His process began with experimentation and learning how and what he needed to be. First he constructed and ‘played’ with models, simplistic and crude, and then the momentum of his creativity grew. It was not long before Winkler was forging wonderful sculptures in bronze.

20160805_155907

These are monumental, minimalist reclining figures, some more than 3 meters in height. Winkler takes the voluptuous characters from his paintings and expands on their size. To achieve the perfect symmetries in his sculptures requires time and skill, so during the process he must continuously run his hands over the extremities of the models to identify and correct imperfections.

The models are then dismantled in his Sanur studio and transferred to Central Java,  reassembled and caste in liquid bronze, and then the finishing is done. His characters are finally positioned according to the client’s wishes, and appear rooted and secure as if they have grown up and out of the earth.

20160826_174122

Richard Winkler was born in 1969 in Norrkoping, Sweden and studied graphic design and illustration at the Beckman’s School of Design in Stockholm. For some years he worked as an illustrator for advertising and magazines.  In 1997 he moved from Europe to Ubud to become a full-time painter. His work is a metaphor for the omnipotent fertility of the universe, while celebrating the beauty of the Balinese landscape.

Words & Images: Richard Horstman

 

 

 

 

 

 

 

 

 

 

Advertisements

A lens on the mysterious – Windee Winata

17349626_10209059632832607_6493271523895940897_o                                                Image by Windee Winata

 

Bali is an extraordinary visual experience, equalled by few other locations on earth. From the spectacular, shimmering landscapes, to the architectual and sculpturally magnificent structures and monuments, the grandeur of festivals and ceremonies, and the grace of the Balinese. It is vibrant and rich in photogenic subjects that incite wonder and euphoria, that continually seduces strangers, the experienced visitor, and expats alike.

There is, however, another essential element that few photographers confidently express, a mysterious realm that is not visible, but certainly can be felt. According to the ancient Balinese beliefs of sekala – niskala, we live equally in two worlds – the visible or conscious world sekala, and the invisible or psychic world niskala. Indonesian photographer Windee Winata’s serene landscape images capture the veiled dynamic of a unique life force, and arouse contemplation of the one of the most compelling aspects of the Island of the Gods.

19388435_10209811917719259_8115866998175820987_o                                                Image by Windee Winata

“Excited about an upcoming trip to Egypt, Greece & Turkey, I bought my first film SLR camera in 1996,” says Winata, who at the time was studying automotive engineering at the Technical University of Berlin. The camera became an immediate fixture to his body and he indulged in his newfound passion, while temporarily neglecting his studies.

“Married with a secure position at the Mercedes-Benz Technology Centre in Sindelfingen, even before the final exam of my degree, life was good. The arrival of my first child then dictated photography had to take the back seat,” says Winata, who was born in Denpasar in 1974. “Returning to Indonesia thinking Bali would be a nicer environment for our daughter to grow up, I concentrated my hobby into a profession, and with my wife established the PhotoFactory, a wedding photography business in Denpasar.”

29872510_10211990003690047_3534173479682265435_o                                                 Image by Windee Winata

“Cutting a long story short, one thousand plus clients, success, and years later I began to suffer from depression. Intuitively I rediscovered the joy of creativity and began focusing on fine art photography.”

Less is more is born from the simple aesthetic design values of Zen Buddhism – the Japanese philosophy states that things are left imperfect to allow the mind’s eye to make the space complete. Within Winata’s landscapes the compositions are stripped to the barest of design elements, often predominated by a blue-grey monochrome mist – appearing to visibly pulsate. The sparse iconography may include distant temple structures, mountains or palm trees, the outlines seemingly echoing within a shadowy haze.

29060330_10211844218565510_6090354740303961588_o                                               Image by Windee Winata

Space is the dominant feature, characterized by abstract voids that overflow with ambience – evocative and serene. Within this realm we access deeper levels of consciousness, and temporarily our minds are set free. Creating an interlude within the blur of lineal time, Winata freezes the moment – transforming it into the eternal.

“I long for simplicity in life, and this is reflected in my photographs.”

“The locations I choose to photograph are a consequences of my need to escape, and be alone – a personal journey of solitude that is my safe haven. I gravitate to airy, beautiful places that seem to bypass my brain and resonate with my heart.”

20246444_10210120804521236_1588455552162941195_n                                                  Image by Windee Winata

Of his technique Winata says, “The images are captured with a single long exposure which is unpredictable, yet I bask in the feeling that I cannot fully control the outcome. The images I love seem to only emerge when the universe takes over. The process feels more like a fulfilling collaboration. The results often surprise and delight.”

My experience of Winata’s images is thrilling, and indulgent. With senses fully engaged the power of suggestion kicks in – I revel in the unseen. Bali is unique and somehow gifts us with greater awareness and insight, which I thoroughly entertain. For me, however, the invisible world is not overwhelmed by the mysterious, as I fill it with the gods and deities of the Balinese Hindu pantheon, along with an abundance of fantastic imaginings, and wonderful possibilities.

29060106_10211852018440502_1566899207596044322_o                                                Image by Windee Winata

“Being a wedding photographer has given me high mileage, which helps when doing my fine art work,” Winata says. “While they are very different disciplines, when I click the shutter button, I’m transported to a happy place. Wedding is exciting, but fine art, to me, is how I live my life.”

“My works are the way I connect with the unknown. When I’m out there, it feels like a union, or as a Balinese priest once said to me when viewing my images: “The small universe meets the big universe.” The outcome is the image – it’s never about the visible setting, but rather the spirit.”

17436133_10209139494389096_3344828269058569652_o                                                   Image by Windee Winata

28061495_10211594030270959_7481044953276066991_o                                                Image by Windee Winata

 

Instagram @windeewinata

 

Words: Richard Horstman

Bali’s street art maverick Julien Thorax

 

IMG_3344                                             Julien Thorax

 

Bali is a rich and unique optical feast. Yet the ominous visual pollution of billboards and advertising, unchecked development and urban sprawl, traffic, fumes, and idle trash makes for an uber serious contrast. Street Art, however is radically transforming the urban landscape of the island. Resonating out from once lifeless edifices, vibrant and alluring images capture our attention, and ignite the imagination. Street art beautifies, informs, inspires, and confronts, while momentarily gifting our sensitivities some vital relief.

Street art fanatic and collector Julien Thorax grew up in Switzerland and then worked across Europe in the corporate world until 2015 when he uprooted and exited for Bali. Owner of the urban art gallery and art supplies store ALLCAPS in Canggu, Julien is the founder of the Tropica Bali Street Art Festival (the urban culture, street art and music event held in Canggu July 2016 & 2017). He is also one of the organizers of the wildly successful new addition to Indonesia’s leading international art fair Art Stage Jakarta 2017 – Off The Wall Jakarta: Europe – ASEAN. Set within 3000 square meters in the Sheraton Grand Jakarta Gandaria City Hotel, Off The Wall Jakarta paired some of Europe’s hottest street artists along with budding ASEAN talent, injecting some urgently needed pizzazz into the exhausted art fair model.

Art by midaskid                                                   art by midaskid

A new urban youth culture has quickly evolved and is now thriving on Bali. The meeting of the art & design, surf, graffiti, mural and hipster communities into a new local/international subculture – its catalyst is the street art scene. LifeasArtAsia corners the prime mover behind Bali’s burgeoning Street Art scene – Julien Thorax:

LAA: Pease share a little about your mission?

JT: Firstly, I want support some of the local artists to make them more visible on the global street art scene, while making Bali a happening destination for graffiti and street artists from around the world. Via ALLCAPS I want to establish an internationally recognized urban art gallery and community space. My endeavor is that within 3-5 years the Tropica Bali Street Art Festival will be the biggest International Street Art and Graffiti Festival in Southeast Asia.

I also want to show local people that graffiti is not always vandalism but can be a beautiful form of modern art, along with utilizing murals and events to spotlight environmental issues, or to support NGOs.

DCIM101GOPROGOPR5850.                                         Allcapsstore & art space in Canggu

LAA: What was the idea behind creating the Bali StreetArt website?

JT:  I wanted to help to connect all the local people and communities involved in “Urban Art”, the mural “komunitas” from Denpasar, the graffiti artists, and the stencil artists, who were more or less all working independently from each other. Graffiti boys hanging out with graffiti boys, stencil artists working alone, mural artists staying within their communities in Denpasar. I tried, and succeeded into bringing them under one banner.

Next was to include the international artists visiting Bali. For me, Bali StreetArt is all the “Urban Art” created on the walls of Bali, irrespective of the artist’s origin (Balinese, Javanese, Australian, French, whatever), this is what we achieved with Tropica Festival, among others. And ALLCAPS has become a central meeting point for all urban art artists, and fans.

The side effect is that many of these artists, with their different backgrounds and various creative friends and communities are bringing a lot of other sub or alternative cultures into the movement; musicians, DJs, tattoo artists, skaters etc. All feel confortable coming to ALLCAPS, or to our events because they are sure to meet some of their friends and have a good time. This was happening before I arrived, but we are key into making it bigger and more visible.

DCIM101GOPROGOPR5854.                                                       Allcaps

LAA: Is the Bali street art scene an art movement, or a social movement?

JT: This is more an art movement at the moment that is slowly becoming a social movement. Yet this will take time.

LAA: What role is social media playing in this urban art development?

JT: Social media plays a key role, especially in a developing country like Indonesia where the majority of people use smartphones. Instagram is popular because it is easy to use, to connect, and to share. Street art and graffiti artists and fans are making big use of this application. This is directly influencing the way people paint and create murals.

Until recently artists painted murals only in “visible”, prime locations. Nowadays they are keen to paint anywhere, as long as they can get a good “Instagram shot”. They don’t really care if the wall will be seen, or the mural is going to stay up for years. With Instagram they can share instantly to the multitude of global followers. Bali gets visibility and interest on the global scene because of social media due to the unique images we post, such as murals on the beach and in the middle of rice paddies.

27992857_735606626647128_7980862004421731372_o    Allcapsstore – Bali’s premiere graffitit and street art supply center & art space

29872441_765503400324117_7393250604400613416_o                       Some of the friendly, professional staff at Allcapsstore

DCIM101GOPROGOPR5852.

 

https://balistreetart.org/

 

Words: Richard Horstman

Images: Courtesy Allcaps

“art, just like life, is an ongoing process,” Wayan Upadana

apapun yang terjadi, hidup harus dijalani#1, water colour and ink on paper, 37 cm x 55 cm, 2012
                           Apapun terjadi, harus jalan, 2013  – Wayan Upadana
 Can you imagine icons of the Balinese culture represented reclining, cheerfully in a bathtub or bowl, drenched in luscious, liquid chocolate? The idea makes the eyebrows rise, while stimulating the  taste buds too.
These unusual figures, sculptures by Balinese contemporary artist Wayan Upadana are, however, expressed not only to incite our curiosity, yet also in order to make important statements. Under the spotlight is the meeting of two opposing worlds, that of the artist’s traditional culture along with the modern, And according to the artist, there are critical related issues that require immediate attention.
Iwayan upadana 'the process' 2012 Video instalation in sculpture ( Polyester resin, spray paint                         The Process, video installation, 2012 – Wayan Upadana
Art is a mysterious medium, perhaps one of the most misunderstood of all human
expressions. Somehow in the process miraculous and unimaginable creations become manifest. Often from sources completely unknown. In the case of Wayan Upadana, how does this young artist’s imagination and creative prowess arrive at works so fantastic, yet relevant as well?
“Contemporary art in Bali is still growing,” says Upadana. “Yet to avoid becoming stuck and rehashing ideas, local artists need to pursue new experiences and learning prospects
– they need to invest in traveling outside of their island.” In the process of creative development it is essential for young contemporary artists, living within the
restraints of their Balinese Hindu culture, to step outside of their communities and be introduced to new artistic landscapes, ideas, freedoms and alternative cultures. Not to mention have the opportunity to access different and higher standards of education.
Tanah Sekolah Dasar, G-5, Oct 2013, Tony Raka Art Gallery
                                           Tanah Sekolah Desa, 2013 – G5
“My love of Balinese traditional art and culture inspired me as a child to draw and paint. I am continually fascinated by the array of creative expressions people are able to invest energy into. Yet it wasn’t until studying painting in high school that I began to dream of becoming a professional artist,” says Upadana. “In 2000 I saw an important exhibition by Indonesia’s most respected art collective, Sanggar Dewata Indonesia (SDI) in a museum in Bali. This had an enormous impact upon my future visions.”
In 2001 Upadana moved from Bali to the city of Yogyakarta, Central Java, the cultural capital of Indonesia, driven by his dream of becoming an SDI member, and a desire to learn of new cultures. To become a member of SDI Upadana had to study art at the prestigious Yogyakarta ISI, the Indonesian Art Institute.
scream, water colour and ink on paper,28 cm x 56 cm 2012
                                         Scream, 2013 – Wayan Upadana
What we foreigners may perceive as a mere relocation to the neighboring island of Java is in fact something few Balinese ever consider contemplating because the Balinese culture is very much focused on systems of cooperation between families and the community, while offering social and religious security.
ISI molds artists of distinction, and somehow the character of their creativity is easily recognizable. Renown for producing some of the most important experimental Balinese artists, spearheaded in the 1970’s by the likes of Gunarsa, Wianta and Erawan, ISI Yogya, for those with the opportunity and the desire, is a pinnacle, and one of the most popular destinations of the Indonesian art education system.
21457620_1190157641128184_2350840054727607781_o
                                        Wayan Upadana 2017

At ISI Yogya, captivated by the exploration of 3 dimensional forms, Upadana studied sculpture, working with various materials including wood, stone, metals and resins. He learned the craft of video art that has become a powerful language for communicating his ideas, and especially important in emphasizing one of his main concepts, that art, just like life is an ongoing process. In many of Upadana’s recent sculptures he utilizes resin, and the manner in which these works are completed often emphasizes melting and flowing liquid forms, cleverly underlining his concept.

Living in Yogyakarta presented Upadana with challenges that helped to strengthen
his character, amongst them working to support his studies and living costs carving stone sculptures and doing whatever tasks he could to earn money. The “friction” created by the multi cultural fusion of Indonesian ethnic groups unique to Yogyakarta provided fertile grounds for contemplation and ingestion of creative ideas. Looking from the outside in, Upadana became increasingly sensitive to the social and environmental changes confronting Bali. He learned to become the observer, and via his art, a critic of his own Balinese culture.
20161206_170532
                                                   Wayan Upadana
The pig is an icon of Balinese culture, yet for Upadana this animal serves as a metaphor for the Balinese people. In works such as his quirky, yet comical sketches on paper with water color from his 2013 exhibition GloBaliasi, the pig is the embodiment of the dualistic nature of life confronting Balinese youths living between modern and traditional cultures. In his sculptures featuring pigs, reclining in Balinese ceremonial bowls covered in chocolate, the pig becomes a humorous communicator of critical ideas.
What Upadana is suggesting is that his people are too quick to enjoy the material spoils of globalization without enough consideration to the increasing environmental, social and personal impacts and conflicts that money and modern development bring to Bali.
15272172_988995764577707_7693382795529819053_o
                      Si Gendut Pencari Tuhan, 2016  – Wayan Upadana
A decade in Yogya has made a definitive impact upon Upadana and helps to explain why he is capable of creating art of such a unique quality. Born 1983 in the small village of Saba, Blahbatuh, Gianyar, this experience for Upadana, who began exhibiting in 2002, has enabled him to achieve notable career results. For example, finalist of the 2011
BaCAA (Bandung Contemporary Art Award) and the “UOB Art Awards – Painting of the Year 2011”, and in 2013 again a finalist at the BaCAA, and finalist of the 2013 Trimata
National Art Award. Justifiably Upadana is regarded as one of the most promising young artists in Bali today.
During his time in Yogyakarta Upadana formed bonds with other fellow Balinese art students that led to the birth of the art collective G-5. Consisting of five graduates of ISI
Yogya, all born in Gianyar, who resided in the city for 10 years, or more, G-5 became one of the most exciting group of emerging artists in Bali. Whether producing art on his own or along with G-5, Upadana’s talent is never far from the national spot light, continually catching the eye of critics, art lovers and collectors as well.
20161206_170546
                             Euphoria Globalasi, 2010 – Wayan Upadana
dsc-0679_orig
The Desire of Gravity, 2017 – Wayan Upadana.  Exhibited at the 13th annual Sculpture by the Sea, March, 2018, at Cottesloe Beach, Western Australia.
Words: Richard Horstman
Images: Wayan Upadana & Richard Horstman

Citra Sasmita captures the Indonesian contemporary art spotlight

Citra Sasmita - "Torment" Image by R. Horstman                                       Torment – Citra Sasmita

 

The most significant display of contemporary art on the island during 2015 featured many of Bali’s finest artists exhibiting side-by-side with emerging talent. Violent Bali – Bali Art Intervention #1, opened at the Tony Raka Art Gallery, Ubud in November presenting eighty-five works raising issues such as identity, gender and cultural conflicts, and the New Order regime and the mass killing of 1965-66, among others.

One painting, however, stood alone for its pure economy of means. Distinguished by a balanced composition, minimal coloration and arresting imagery, the visual impact was immediate. Matching technical prowess with the controversial subject matter, the work’s essentials were complete. Torment by Citra Sasmita, one of only three exhibiting women, captivated the audience. The bold, yet disturbing narrative depicted a naked woman holding and kissing the snout of severed pigs head as blood drips from the pig, and the woman’s mouth. It ‘spoke’ of the psychological and physical abuse of women within the patriarchal Balinese society. Torment’s daring and aesthetic simplicity revealed Sasmita as an extraordinary young talent.

Citra Sasmita "Mea Vulva Maxima Vulva" 2016 Ceramic & mixed media Image richard Horstman                      Mea Vulva Maxima Vulva – Citra Sasmita

“You want to be an artist: you want to live poor?” was Sasmita’s fathers’ reaction upon learning that his daughter wanted to study fine art. Born in 1990 in Tabanan, Central Bali, as a child she had a passion for creative expression, and was destined to follow her heart. In conflict with her parents about her vocation, she studied literature and physics to appease them. While at university in Singaraja she joined a theater group that inspired her love of art and literature. Sasmita began painting secretly, without her parent’s knowledge, eventually exhibiting in a small community event in 2012.

“A journalist from the Bali Post newspaper wrote about the exhibition, and my parents read the review. At first, they disagreed,” Sasmita said. “Yet upon their final wishes, they consented, and then gave me their approval for my art career. I have always reflected upon this,” and she adds. “Without their blessing, it seemed impossible to survive in the challenging and highly competitive world of art.”

Citra Sasmita, third from the left, at the UOB Painting of the Year Award CeremonyCitra Sasmita (third from the left) during the UOB Painting of the Year Indonesia award ceremony, Jakarta, October 2017

After the exhibition, Sasmita was hired as an illustrator for short stories at the Bali Post. “Working at the Bali Post allowed me to investigate literature and symbolic forms that I began to adopt into my works. Art became the vehicle through which I could question my position as a Balinese woman.”

Promising to be the most important exhibition of the 2016 Bali art calendar Merayakan Murni (Celebrating Murni) ran mid-year at Sudakara Art Space, Sanur. Contextualizing the relevance, along with celebrating the legacy of iconic female Balinese artist I GAK Murniasih (1966-2006), the exhibition brought together the work of Murni along with 15 other local and international invitees. Sasmita’s installation Mea Vulva, Maxima Vulva, presented fifty small ceramic vaginas within a set of large out of balance scales, her reflection upon Balinese social class distinctions. Again she captured the audience’s imagination, while the critics paid due attention.

Old Mountain and Imaginary Pilars, 160 cm x 120 cm, mix media on canvas, 2017        Old Mountain and Imaginary Pillars – Citra’s UOB Gold Award painting

Even though Sasmita had entered many art competitions, success had always eluded her. “I became cynical, unless you were from one of the art and cultural capitals of Java, like Yogyakarta, Bandung or Jakarta, it was difficult to win a national competition,” she explained. In October 2017, however, her composition Old Mountain and Imaginary Pillars was honored with the prestigious Gold Award of the UOB Indonesian Painting of the Year 2017 competition, thrusting her into the national spotlight, while confirming her presence in the Indonesian contemporary art world.

“I have always doubted my chances in the UOB, last year, however, was my first submission,” Sasmita said. “In my concept, I wrote whole-heartedly about the plight of women in the Indonesian art world, and about the struggle against gender bias and sexism, and that there are few opportunities for women to speak up through their art.”

Sasmita has chosen her ideology not only as a criticism, yet she endeavors to inspire empathy for those who are confronted with these social issues. “It means a lot to me to achieve recognition from people who have not been willing to listen to my artistic ‘voice’, and in some ways disrespect women in Indonesian art,” Sasmita said. “Winning this competition is a great thrill, I understand, however, that I must remain humble and focused on my learning journey.”

12697353_896845307096369_7827360737894318145_o                              Birth of Nothingness – Citra Sasmita

 

Words: Richard Horstman

Images: Citra Sasmita & Richard Horstman

Under the hammer: Previewing Larasati’s Traditional, Modern & Contemporary Art Auction, Bali, 21 January 2018

lot #579 Ida Bagus Made Poleng "Stone Mason" Image courtesy of Larasati                             Lot # 579 Stone Mason – Ida Bagus Made Poleng

 

Larasati Auctioneer’s continue to provide excellent support in the development of Indonesian art, especially Balinese traditional painting, to growing local and international markets with its upcoming 21 January 2018 Traditional, Modern and Contemporary Art auction to be held in Ubud, Bali.

Eighty lots of fine art will go under the hammer, including paintings, sketches, a woodcarving and one delightful poster, in an array of categories, and with price accessibility for new buyers, intermediate collectors, and the connoisseurs alike. For the third year running real time, Internet bidding is available through the Larasati website opening the auction to a global audience.

lot #533 Bagong Kussudiardjo "Wanita Wanita Bali" Image courtesy Larasati                      Lot # 533 Wanita Wanita Bali – Bagong Kussudiardjo

This is an exciting sale with some absolute gems featured, along with works by renowned Indonesian and foreign artists, including Balinese master Gusti Nyoman Lempad (1862-1978), Ida Bagus Made Nadera (1910-1998), Ida Bagus Made Togog (1913-1969), Wayan Taweng (1922-2004), Antonio Blanco (1911-1999), Dutchmen Rudolf Bonnet (1895-1978) and Arie Smit (1916-2016) and Australian artist Donald Friend (1914-1980). The auction is highlighted by a special selection of works from the collection of one of the most forward thinking private collectors of Balinese art in the United States, Peggy Williams.

For the new buyer, or novice wishing to add to their collections there are many paintings and drawings priced at lower than US $500 that are very good buys if purchased within their estimates. Two, especially glowing works by recognized female painter Ni Gusti Agung Galuh, lot # 545, Pulang Dari Sawah and lot #546 Sunset with Ducks, both have an estimated price of between Rp. 4 million – 5 million. Lot # 548, Sore Hari di Desa by Gusti Agung Wiranata also has the same estimated price, while lot #524, Ocean Village Scene, an early work by the renown Batuan painter Wayan Bendi has an estimated price of between Rp. 5 million – 7 million and is another excellent opportunity to purchase a strong work. All of these works represent buying value not possible when purchasing paintings direct from the artist’s studio or from a gallery.

lot #524 Wayan Bendi "Ocean Village Scene " Image courtesy of Larasati                       Lot #524 Ocean Village Scene – Wayan Bendi

There are two lots of special interest for collectors and those seeking to purchase something unusual. Charming & Beautiful lot # 539 is a 75cm x 48cm advertising poster by the reputed Dutchman Willem Gerard Hofker (1920-1981), which has an estimated price of between Rp. 10 million – 12 million. Lot # 519, Barong by influential Balinese wood carver Nyoman Tjokot (1888-1971) has an estimated price of between Rp. 30million – 40 million and is a rare find from an artist who was at the forefront after the turn of the 19th century of new sculptural interpretations of icons of the Balinese culture.

Works in the mid price range are many and some strong paintings include groups by twoartists Bagong Kussudiardjo (1928-2004) and Dewa Putu Mokoh (1934-2000). Well known as a choreographer Bagong learned to paint from Indonesian masters Hendra Gunawan and Affandi, among others, before studying painting formerly at ASRI Yogyakarta. Of his four works offered, lot #530 Ibu dan Anak has an estimated price of between Rp. 12 million – 15 million, and Wanita Wanita Bali, lot #533, has an estimated price of between Rp. 45 million – 55 million.

lot#564 Anak Agung Gde Anom Sukawati "Suasana Pasar" Image coutesy Larasati             Lot #564 Suasana Pasar – Anak Agung Gde Anom Sukawati

Four works are on offer by Mokoh, noted for breaking with convention and producing compositions that were quirky, lurid, even intimate and highly unusual. The present owner purchased the paintings directly from the artist, and lot #553, Tajen, a delightful scene of an audience watching a cock fight, has an estimated price of between Rp. 22 million – 32 million.

Lots #517, 521, 577 & 580 are by Made Sukada (1945-1982). An artist held in very high esteem, his attention to compositional details and skin tones, set him apart from most and have led to him being a highly sought after painter, especially due to his short career. The idol of Indonesian international contemporary art superstar Nyoman Masriadi, lot #521 by Sukada, Dialog Arjuna dan Kresna has an estimated price of between Rp. 90 million – 110 million. Another beautiful work by Nyoman Kayun, lot #548 Pusupati has an estimated price of between Rp. 40 million – 80 million.

Lot#553 Dewa Putu Mokoh "Tajen" Image courtesy Larasati                             Lot# 553 Tajen – Dewa Putu Mokoh

An early work dated 1989, by Ubud’s most celebrated living painter, Anak Agung Anom Gde Sukawati, lot # 564 Suasana Pasar was painted when he was only 23 years old. While the influence of his father, A.A Gde Meregeg (1912-2000) is obvious, some five years later his work evolved and made a clear departure from his father’s style. With an estimated price of between Rp. 90 million – 110 million, this is an extraordinary piece to collect.

An extremely rare and early masterpiece by, arguably the most talented Balinese painter of the 20th century, Ida Bagus Made Poleng (1915-1999), will receive the attention from connoisseurs. Lot # 579, Stone Mason is offered as the top lot in this auction, with an estimated price between Rp.350 million – 450 million. Probably produced in the early 1940’s as it is painted on Masonite board, the work, which has excellent provenance, reveals his mastery of composition and the strong influence of Rudolf Bonnet is clearly shown in the way he has depicted figures working in the field.

lot #521 Made Sukada "Dialog Arjuna dan Kresna" Image courtesy Larasati                     Lot #521 Dialog Arjuna dan Kresna- Made Sukada

The final lot during the afternoon, lot # 580 by Made Sukada, Bali Life, has an estimated price between Rp. 40 million – 80 million and also comes with excellence provenance. An early work of remarkable beauty, its layered composition reveals fascinating central background features and is another step in Sukada’s journey in the master of anatomy, influenced by Rudolf Bonnet’s signature style of elongated human proportion.

Potential buyers bidding over the phone, or via real-time Internet bidding who are unable to attend the previews days or auction are advised to contact Larasati and enquire about the colour reproduction accuracy of the images contained within the online catalogue to ensure that what they wish to purchase can be realistically appraised. The absence of reference to the condition of a lot in the catalogue description does not imply that the lot is free from faults or imperfections, therefore condition reports of the works, outlining the paintings current state and whether it has repairs or over painting, are available upon request.

lot # 580 Made Sukada "Bali Life" Image courtesy Larasati                            Lot #580 Bali Life – Made Sukada

Provenance, the historical data of the works previous owner/s is also important and is provided. An information guide including before the auction, during the auction and after the auction details, including conditions of business, the bidding process, payment, storage and insurance, and shipping of the work is also available. A buyer’s premium is payable by the buyer of each lot at rate of 22% of the hammer price of the lot.

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Sunday 21 January, while viewing begins from 11am Friday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

577                               Lot# 577 Tri Murti – Made Sukada

Viewing:

Friday,         19 January   11am – 7.30pm

Saturday,   20 January     11am – 7.30pm

Sunday,     21 January     11am – 1pm

Auction: Sunday 21 October, from 2:30 pm

 

Larasati Bali Art Space at Tebesaya Gallery

Jalan Jatayu, Banjar Tebesaya, Peliatan,

Ubud, Gianyar Bali, Indonesia

 

Words: Richard Horstman

Images Courtesy: Larasati Auctioneer’s

 

 

 

 

 

Art eccentric – Ida Bagus Alit

Ida Bagus Alit                             The effervescent Ida Bagus Alit

 

The art world adores eccentric characters.

Lurking beneath the exterior of Balinese artist Ida Bagus Alits’ wacky persona is, however, a highly practical, compassionate and intelligent man. These traits meld into an effervescent personality that enchants everyone he meets.

Within the Balinese art world Gus Alit, as he is affectionately known, is a popular and unique figure; painter, sculptor, photographer, event organizer and art collective leader. A member of a well-known Brahmin high caste family in Denpasar, there is an aristocratic air about him, especially when attired in traditional costume and sporting his suave reading glasses. Yet one is not to be intimidated or coy within his presence, Gus Alit is as playful, and as friendly as a kitten.

Gus Alit’s passion for photography has drawn him along two distinctive paths. He is dedicated to documenting Balinese religious ceremonies around the island, capturing rare events, and the unique traditional costumes that characterize separate villages.  He does, however love to experiment with painting techniques upon printed images on canvas, striving to achieve new aesthetic results with his art photography.

Ida Bagus Alit, "No Doubt" 2014.                                No Doubt – Ida Bagus Alit

Grinning happily as he reveals images captured on his iPhone, his ever-ready pocket camera, Gus Alit explains one of the “secrets” of his photographic technique. The photos are of young Balinese women clad in traditional dress, glamorous and alluring – the iconic image of Balinese feminine beauty.

“At first they are shy, some even refuse to be photographed,” he says referring to his initial meetings with the models. “Yet I always win them over with a joke and my humor quickly sets them at ease.”   His photos recount the process of their transition from being restrained and rigid, to being relaxed and glowing in front of the camera. “Its important to make your models feel comfortable in order to capture and allow their inner beauty to shine.”

27797357_1905610429450254_2276016392130748197_o                              The Beautiful Balinese – Ida Bagus Alit

There are often visitors to Griya Satria Art House, Gus Alit’s family’s home on Jalan Veteran, opposite the bird market in Denpasar. They may be friends, family, or new acquaintances, locals and foreigners, all curious to see the collection of art on display set in lush tropical gardens while being enhanced by traditional Balinese architecture.   Recently more and more young couples, brides and grooms in traditional costume, stop by to be photographed by professional photographers, surrounded by Gus Alit’s unusual paintings and sculptures. The consequences are unique momentos that they surely will look back on with pride.

“This is a new era in photography,” Gus Alit says with a cheeky smile stretching from ear to ear.“ They now go from the Bali museum to Griya Satria Art House for their wedding photos.”

Of course Gus Alit jumps into the action and captures the couples in all their glory, as well. Often he will print the photo onto canvas then paint the background in his flamboyant style. If the subject is a friend he may gift them with the work, however many of his subjects upon seeing his creations, request to buy these unique images directly from him.

Ida Bagus Alit, "Friendship" 2011, acrylic on canvas                                   Friendship – Ida Bagus Alit

“What is important is not to copy,” exclaims Gus Alit. “True art must come from the heart.”

As the long serving president of B.I.A.S.A (Bali Indonesia Sculptors Association), he is a driving force in the promotion and preservation of traditional woodcarving, and contemporary sculpture in Bali. I question Gus Alit on the value of art collectives in Bali, which he believes are essential to the development of local art.

“As individuals or groups its important to know our strengths and weaknesses. Through this we will learn the ways and methods to move ahead. Learning is life long education,” he states with a wisdom that almost belies his jovial character. “As the head of B.I.A.S.A I take the time to visit each of the members and discuss with them their challenges and I help to provide solutions. B.I.A.S.A is like a big family to me.” Gus Alit is well versed in the concept of leadership with the heart.

 

IMGP4843                                Sculpture by Ida Bagus Alit

Abstract and figurative wood cravings are a fusion of the rich natural rhythms of the timber intertwined with faces and figures. Although they are not always be beautiful, Gus Alit introduces imaginative possibilities, while adhering to a yin/yang theme. Some of his sculptures he paints in an outrageous manner that none dare to copy.

While contemplating his paintings the observer may wonder what on earth are these creations! Are they the musings of a complete oddball? His large compositions, some canvases measuring over 4 meters in width, each, however, have themes taken from his culture, for example Tri Hita Kirana, the Balinese philosophy of three fold harmony between man, nature and the gods.

Gus Alit’s paintings are as eccentric as is his personality. A fusion of bright colors, figures and forms, they are both surrealistic and dynamic at once. Adaptations from the Wayang Kulit shadow puppet-theater and traditional masks, his figures and faces have evolved into quirky, other worldly creatures. Akin to galactic landscapes that flow across the canvas his compositions express humor while accentuating that art should be fun to create.

IMGP4842                             Painting by Ida Bagus Alit

“To be a real artist you have to be free and strive to create your own works under your own responsibility.”

His C.V lists the exhibitions he has participated in over the past 40 years, numbering well over one hundred. Born in Denpasar 1947, Gus Alit’s works have been displayed in many countries, while his buyers come from every corner of the planet. In 2006 he participated in an artist in residency program, as well as having a solo exhibition at the Vermont Studio Center, USA. A self-taught artist, who regularly travels abroad, his initial childhood inspiration has come from studying his artist father, Ida Bagus Agung.

Watching him chiseling away at a carving, with an eye for detail, while being the picture of focus and determination, his wiry hands and arms are powerful, yet sensitive as well. Gus Alit values the virtues and importance of art and culture above himself, is an asset to the island, and a proud ambassador of the Balinese arts.

IMGP4855                                 Sketches by Ida Bagus Alit

Gus Alit welcomes visitors at Griya Satria Art House,Jalan Veteran, opposite the bird market in Denpasar.

 

Words: Richard Horstman

Images: Ida Bagus Alit, Monika Kiraly & Richard Horstman

 

 

 

 

Indonesian artist Ichwan Noor’s Abu Dhabi F1 exposé

Noor's works received large local and international media exposure. Image courtesy I. NoorInternational media shooting in front of Noor’s Beetle Sphere at the 2017 Formula One Etihad Airways Abu Dhabi Grand Prix, held at the Yas Marina Circuit, Abu Dhabi, 23-26 November, 2017.

 

Reaching out to new audiences, across diverse sectors of the society to attract greater appreciation and acceptance of art is an ongoing process for artists, and the art industry. In recent years the Indonesian contemporary art world has held successful events merging with the fashion and design worlds, gaining increased exposure and popularity for the leading brands, including fairs, galleries and the artists themselves.

Yogyakarta based artist Ichwan Noor, recently, had a unique opportunity to capture the attention of a perhaps an unlikely sector of the public – the international Formula One racing industry and F1 fans. He exhibited three of his sculptures at the 2017 Formula One Etihad Airways Abu Dhabi Grand Prix, held at the Yas Marina Circuit, Abu Dhabi, 23-26 November.

Upon invitation from the Yas Marina Circuit Noor exhibited three of his iconic works, inspired by the motor vehicle, in Art@Yas, a side program conducted at the main grandstand during the Middle East’s biggest international event. The final race of the 2017 calendar attracted a crowd of over 60,000 people. Noor’s creations enthralled the local and international audience, many of whom were amazed to see the classic, arguably the most recognizable four-wheeler on the planet, breathtakingly transformed.

Ichwan Noor's three works at Art@Yas, Yas Marina Circuit, Abu Dhabi, United Arab Emirates - Image I. Noor                         Noor’s works at the Yas Marina Circuit

Caste in aluminum, featuring original auto parts of the VW beetle, 180cm in diameter, Beetle Sphere, colored black, and Beetle Sphere, colored grey are a continuation of an on going series the artist began in 2011. First exhibited internationally at Art Basel Hong Kong 2013, the works feature the 1953 Volkswagen Beetle reconfigured in a variety of new shapes, including cubes and spheres. The Beetle Sphere features in the collections of several major national and private institutions in Indonesia, Australia (National Gallery of  Victoria), Germany, China, Turkey, U.S.A., Sweden and India. Noor’s third work, Got Wood, 2017, 495 x 180 x 150 cm, is a to scale replica of a F1 racing car constructed from scraps of mahogany and teak wood.

According to Noor’s artist statement, “The idea behind my sculptures emerged from a insight towards objects that are products of a ‘transportation culture’, which induce signs of spiritual emotion – to behold a vehicle is to have a ‘magical’ or supernatural identity. By combining the techniques of manipulation and substitution, the sculptures form tends towards a realistic distortion allowing fresh interpretations about the object, and a shift in observation creating associative meanings.”

“The VW is familiar to almost everybody across the globe, no matter their age or social status. I see the VW Beetle as one of the most successful designs,” said the artist who graduated from the School of Visual Art at the Indonesia Institute of the Arts (ISI), Yogyakarta, and is a Professor of Fine Arts at the University of Yogyakarta.

F1 fans enjoy Noor's "Got Wood" a wooden replica of a F1 racing car            F1 fans enjoy Noor’s “Got Wood” a wooden replica of a F1 racing car

The works creation process involves Noor first making a polyurethane mould of a genuine Beetle carving a spherical polyurethane replica of the vehicle’s body and then casting it in aluminum. A separate spherical interior is produced and fitted to the cast exterior. The sculpture is then painted, fitted with acrylic windows and genuine trim pieces including lights, wheels and tyres.

Got Wood, (also called boyhood, manliness, or manhood) the artist said, “represents a set of traits, mannerisms, and characteristics associated with boys and men. Speed is an captivating symbol for some men who have great courage, while being a symbol of masculinity for strength, competition, courage and adventure.”

“As we all know, the Indonesian art infrastructure is still fragile so I try to take advantage of existing global infrastructure. With a limited local and world art markets it is important that artists interact with people beyond the artworld and exhibit in public spaces outside of the current gallery and museum system in order to make breakthroughts into new markets and art colections,” said the artist who was born in Jakarta in 1964, and is renowned for his large-scale sculptures of hybrid human, animal and technological forms, working with bronze, stainless steel, aluminum, various used materials and resin.

IMG_20171123_154306

The Middle East is no longer foreign to modern art with a lot of modern art being purchaseded by collectors from the region. In the world of contemporary art collections, however, collectors from this region are still lagging behind collectors from Asia. “For me the most important thing is to create a new art map outside of the map that is understood by Indonesian artists. Professionalism, of course, within the globalized art world is a necessity.”

“There is a serious and massive effort from the UAE to participate in the flow of the contemporary art world, which is directly related to their strategy that to raise the prestige of their country. This certainly will create many opportunities for Indonesian artists,” Noor adds, and suggests, “ artists should take the littlest of opportunities of getting involved in the global art infrastructure, and anything goes is a most appropriate expression for contemporary art works that we can take on the positive side.”

 

Words: Richard Horstman

Images Courtesy: IchwanNoor