Monthly Archives: May 2019

TANDA SERU! exhibition in Bali makes a bold artistic statement

Members of the public engage with paintings by Citra Sasmita during the opening of "Tanda Seru" at Uma Seminyak - Image courtesy of FutuwonderAudience members engage with paintings “Portrait of the Other, #1 & #2” by Citra Sasmita during the opening of Tanda Seru!

 

In 2017 a meeting of young Balinese women from various creative backgrounds, yet with similar visions, set out to create a cross-disciplinary platform to support and encourage women’s art activities and visual discourse. Their driving motivating question: ‘Why aren’t there many established women artists in Bali?’ The gathering set the foundations for a new art collective – Futuwonder.

In July 2018, Futuwonder announced its arrival on the Indonesian art scene by conducting a Wikilatih workshop (Wikipedia article writing) and uploading onto the World Wide Web eighteen new articles on female artists from Bali. Puan Empu Seni: Edit-a-thon was a part of a national drive, held in conjunction with Wikimedia Indonesia, to increase the amount of data on Indonesian female artists available on the Internet’s most go-to source of information – Wikipedia.

Leading Indonesian contemporary artist Arahmaiani and Tanda Seru artists during the exhibition opening at Uma Seminyak 31 March 2019 - Image courtesy FutuwonderLeading Indonesian contemporary artist Arahmaiani with Tanda Seru! artists during the opening of the exhibition at Uma Seminyak

 

Following on from their first exhibition, Masa Subur: Efek Samping, held late last year in Ubud, Futuwonder presents Tanda Seru! (Exclamation Mark) open for two weeks from 31 March at the Uma Seminyak, Bali. Officiated by Indonesia’s most prominent woman contemporary artist, Arahmaiani, and showcasing a diverse array of contemporary works by eight-woman artists, the exhibition commemorates International Woman’s Day 2019, 8 March, and Kartini Day on 21 April. Also referred to as Women’s Emancipation Day, established in 1964 by Indonesia’s founding President, Sukarno, Kartini Day is a national holiday celebrating the life of Raden Ajeng Kartini (1879-1904), Indonesia’s first feminist activist.

“Bali is a very patriarchial society with few women being represented in the art scene, especially in the museums and galleries,” said Ruth Onduko, one of the founding members of Futuwonder, along with emerging artist Citra Sasmita and graphic designer Ni Putu Sridiniari. “We intentionally invited talented young women to exhibit in Tanda Seru! especially those who make art but do not label themselves as artists,” Ruth explains. “Due to the narrow scope of today’s contemporary art world women are marginalized and few get the opportunity to exhibit their work within the fine art gallery system as their work may not follow current market trends, or may lack the necessary commercial elements.”

"Res Publica - Security Mirror for Genitalia, 2019, Ni Putu Sridiniari. Image by Richard Horstman         Res Publica: Security Mirrors for Genitalia, 2019 – Ni Putu Sridiniari

 

“Through Tanda Seru! we examine and question issues related to gender, patriarchy and sexuality – making statements about the female body, woman’s roles, and our capabilities as equals with men,” Ruth said. “We chose the exhibition title to emphasize the importance of these issues, while showing the art world (especially in Bali), that there is a lot of highly skilled female artists that are worthy to be considered as part of the larger art world.”

Dan Bunga Berkata (And the Flower Speaks) is inspired by Aria Gita Indira’s investigations into data released by Badan Pusat Statistik (BPS Statistics Indonesia) in 2017, that reveals 1 in 3 Indonesian women aged between 15 – 64 have experienced violence and, or sexual violence in their lives. Indira presents three small ‘still life’ compositions of flower arrangements on black backgrounds, some of the flowers, however, are embroidered in cotton. The cotton ‘patches’ are metaphors, symbolic icons for all the female victims of domestic violence. Journalists often use the names of flowers when referring to domestic violence survivors in their reports.

"Dan Bunga Berkata" by Aria Gita Indira Image Richard HorstmanDan Bunga Berkata (And the Flower Speaks), 2019 – Aria Gita Indira

 

Crude, yet confrontational The World Between Her Legs, 2019 and Are We There Yet by Santi Permana features women’s underwear attached to brightly colored canvases. Statements to encourage strength and enthusiasm, such as: ‘forced prostitution’, ‘sexual harassment’, ‘girls are strong’ and ‘empowered women’ complete the compositions. Questioning the patriarchal reconstruction of the body of a woman who is menstruating, worshipping, in the work place, and in marriage, Happy to Bleed #1,2&3 by Cristine Mandasari presents circular compositions with restrictive statements written upon sanitary napkins. The artist poses the question, ‘With all the restrictions, can women actualize themselves as human beings who are free and equal to men?’

Communicating about the objectification of women, layers of transparent acrylic sheets frame a collage of digital images featuring mannequins, flowers and hands in the eye-catching Mannekin, 2019, by Intan Kirana Sari (b. 1999, Denpasar, Bali). Delicate brightly colored pieces of paper are arranged into collage on a blue background in Male Reproductive System, 2019 by Irene Febry. Febry imagines what the human reproductive system may look like if it was found within the body of a man.

"Mannequin", 2019 Intan Kirana Sari - Image by Richard Horstman                               Mannekin, 2019  – Intan Kirana Sari  

 

Citra Sasmita is renowned for her descriptive paintings depicting the exploration of the female body through the suffering and pain of the wounds inflicted upon them. Portrait of the Other, #1 & #2 contrasts and balances tragedy with an unusual sense of beauty, creating strong and distinct compositions. Few Balinese artists express themselves through the medium of printmaking, Sealing the Body and Tutur Tinular by Ni Luh Pangestu Widya Sari (b. Denpasar, Bali 1991) are a departure in artistic techniques and aesthetics from the other works in the show, adding to the overall strength of Tanda Seru!

 A pair of long, silver legs protrude from a square mirror, centrally positioned between the legs another mirror, round and convex. Upon inspection of Res Publica: Security Mirrors for Genitalia, by Ni Putu Sridiniari, the observer immediately comes face-to-face with their own image. The highlight of Tanda Seru! the work is both engaging and confronting, provoking thoughts, experiences and reflections upon gender identity.

"Happy to Bleed #1,2&3" by Cristine Mandasari - Image Richard Horstman                    Happy to Bleed #1,2&3, 2019  – Cristine Mandasari

 

“People are obsessed with private matters and sexuality. The law and the public, however, control women’s freedoms and perpetuate gender inequality,” said Sridiniari, a freelance graphic designer, who rarely publically exhibits her work. “I believe contemporary art is important to negotiate politics and socio-cultural issues – discourses that highlight personal narratives and cultural identity in a larger context: the family, community and the state.”

“I’ve always wanted to work with mirrors and body parts to create an installation, so I decided to work with legs for Res Publica, because everybody is curious about sexuality, especially in this case with the direct reference to the female genitals,” she explained. “In Res Publica, the female genitalia is a treasure, yet remains a hidden mystery, that is watched by the public eye.”

"Male Reproductive System" by Irene Febry Image by Richard Horstman                     Male Reproductive System, 2019 – Irene Febry

 

Tutur Tinular, 2015 Ni Luh Pangestu Widya Sari - Image by Richard Horstman    Sealing the Body and Tutur Tinular, 2019 – Ni Luh Pangestu Widya Sari

 

 

Tanda Seru!

Open 31 March – 13 April

Uma Seminyak,

Jalan Kayi Cendana 1.

Oberoi, Seminyak, Bali

 

Words: Richard Horstman

Images: Richard Horstman & Futuwonder

 

 

 

 

 

 

 

Bali art world personalities: meet Ruth Onduko

Ruth Onduko_Profile Photo                                                   Ruth Onduko

 

The 2008 GFC (global final crisis) spelt disaster for the Bali art world. The Indonesian art market after a record boom went to bust with collector’s buying immediately slowing, galleries around the island closed, while others wound down their activities. The woes continued with a decrease in tourism and smaller holiday budgets – luxury items such as artworks were off the shopping list.

Now, a decade on, the organic response by local artists, art communities and creatives is defining a new era of art infrastructure that is positively impacting upon the Bali art scene. Artist driven initiatives, alternatives spaces, foundations, creative hubs and cafes, along with new art and creative events – the art landscape is increasingly dynamic, exciting and inspiring. Behind these developments is a diverse group of people from different backgrounds shaping new horizons for Bali – one of these dedicated characters is Ruth Onduko.

Ruth Onduko along with members of Futuwonder and the public conducting a Wikilatih workshop (Wikipedia article writing) and uploading eighteen new articles on female artists from Bali. Puan Empu Seni: Edit-a-thon was a part of a national drive, held in conjunction with Wikimedia Indonesia, to increase the amount of data on Indonesian female artists available on the Internet’s most go-to source of information – Wikipedia.

Ruth Onduko hosting the opening of Futuwonder's most recent exhibition "Tanda Seru" March 2019 at Uma SeminyakRuth Onduko hosting the opening of Futuwonder’s most recent exhibition “Tanda Seru” open 31 March 2019 at Uma Seminyak

 

The most experienced and connected art manager on Bali, Ruth represents the new frontier of female art workers, including artists, writers and managers who are the essential ‘small army’ within the rising infrastructure. Born in Semarang, Central Java in 1983, a graduate in Communications Studies from the Gadjah Mada University, Yogjakarta in 2008 Ruth moved to Bali where she began her career as the Public Relations Officer and art event organizer at the Museum Kartun Indonesia, Bali in Kuta. Her next position as gallery manager at the Tony Raka Art Gallery in Ubud introduced her to the Indonesian contemporary art world, were she oversaw operations until 2012.

Ruth went on to project manage art collectives, art and photography communities and event managed “Merayakan Murni / Celebrating Murni”, the landmark collaborative initiative in 2016 by Ketemu Project Space, highlighting the legacy of late, iconic Balinese female artist I GAK Murniashi.

Puan Empu Seni, wikilatih 1.0 in collaboration with Wikimedia indonesia and Futuwonder, we held a workshop on how to make an entry to wikipedia, focusing on data entry of balinese female artists (1)Ruth Onduko along with members of Futuwonder and the public conducting a Wikilatih workshop (Wikipedia article writing) and uploading eighteen new articles on female artists from Bali. Puan Empu Seni: Edit-a-thon was a part of a national drive, held in conjunction with Wikimedia Indonesia, to increase the amount of data on Indonesian female artists available on the Internet’s most go-to source of information – Wikipedia.

 

Instrumental in the development of four important, recent projects that are helping to fill critical gaps within the infrastructure, and that will aid in the future sustainability of the Bali art ecosystem, Ruth has played vital roles in the creation of the annual world-class contemporary art exhibition Art Bali, the design themed event Seminyak Design Week, Futuwonder a collective supporting the women artists of Bali, and her pet social media project – a centralized portal of information promoting events throughout the island – “Senidibali” on Instagram.

“In 2016 I was about to participate in a group photo exhibition in Denpasar and was thinking of the best way to promote this event. At the same time a friend was asking me to help to promote her first exhibition,” Ruth explained. “Other artists, spaces, and communities also needed a platform as so many of them were already sending me their event information and asking me to share it out. Instagram is the easiest, and most accessible tool to engage with a wider audience, so I started @Senidibali, along with its supporting website. I understood the potential to help the community, and especially the art community by sharing what’s happening in the Bali art world.”

Puan Empu Seni, wikilatih 1.0 in collaboration with Wikimedia indonesia and Futuwonder, we held a workshop on how to make an entry to wikipedia, focusing on data entry of balinese female artists (2)Ruth Onduko addressing participants during Puan Empu Seni: Edit-a-thon at Rumah Sanur

 

“Seminyak is the trendsetters capital of Bali, one of the go to locations for foreign and local tourists, especially the millennials,” Ruth stated when revealing the origins of Seminyak Design Week. “Design consciousness is ever present within the architecture, the logo and brand design, and venue interiors – much of this awareness is created by communities of talented local designers. The Indonesian design industry has huge potential to contribute to the burgeoning creative economy. With this in mind, we wanted to showcase the creators who make designs for better communities.”

“I was employed by Uma Seminyak, a performance and event venue in Seminyak, as community manager in February 2018. Working together with the Uma’s team after 3 months of preparation we held the first Seminyak Design Week in May 2018,” she said. The event showcased 39 guest speakers, sixty crafters, designers, and architects participating with other creative spaces throughout Seminyak and Denpasar in design related events. Seminyak Design Week 2019 is slated for August.

55910093_365679750704060_8443468403250823168_oRuth Onduko addressing the audience and artists during the opening of “Tanda Seru”

 

“Bali has many artists, but lacks professionals in the field of art management and event organization. It also requires a specific venue for large-scale events,” Ruth said. “The rapid development of IT and the web is the foundation for enormous growth and opportunity, as more and more collaboration amongst the art workers with expertise continues.”

“It has always been one of my dreams to help create a large scale contemporary art event in Bali. In early 2017 I was asked to join the Art Bali team,” Ruth said. “It has been a great opportunity for me to work and learn directly from Indonesia’s leading art management group HPAM.” (Heri Pemad Art Management of Yogyakarta, responsible for the countries most unique contemporary art event ArtJog).

OPENING PAMERAN EFEK SAMPING DI KARJA ART SPACE, 20 OKT 2018_FUTUWONDER (2)The audience during the opening of the first Futuwonder exhibition “Masa Subur: Efek Samping” at Karja Art Space, Ubud, October 2018

 

A passionate photographer, Ruth Onduko’s excellent array of images can be viewed at:

www.flickr.com/photos/theonduko/

https://theonduko.weebly.com/

Instagram @senidibali

 

Words: Richard Horstman

Images: Ruth Onduko

Previewing the Larasati Traditional, Modern & Contemporary Art Auction in Ubud, 16 Febuary 2019

Ketut Teja Astawa "Untitled"                                       Untitled – Ketut Teja Astawa

 

Balinese contemporary artist Ketut Teja Astawa (b.1971) has experimented with the iconography from the Classical Balinese Kamasan paintings for more than twenty years. He reinterprets the imagery with his own innovations configuring wonderful compositions, often humorous, and with a strong sense of spontaneity. His signature style has become one of the most recognizable, and important recent developments in Balinese contemporary art.

Untitled, Lot 555, by Astawa, with an estimated price of between Rp 30 – 40 million, is just one of 77 items of fine art for sale in the upcoming Larasati Traditional, Modern & Contemporary Art auction on Saturday 16 February at the Larasati Art Space in Ubud, Bali.

Nyoman Kayun "Keluarga di Desa"                                       Keluarga di Desa – Nyoman Kayun

 

In an array of media including sketches in ink on paper, watercolour, gouache and aquarelle works on paper, acrylic and oil paintings on canvas, colour prints, and a lithograph, the auction features works by distinguished Balinese and international artists including Gusti Nyoman Lempad, Ida Bagus Made Poleng, Gusti Ketut Kobot, Nyoman Gunarsa, Arie Smit, Miguel Covarrubias and Donald Friend. The sale has buying opportunities for beginners, as well as seasoned connoisseurs, and mid level collectors.

Two of the highlights are Lot 513, Outriggers Bali by the renowned Australian artist and diarist who lived in Bali from 1968 until1980, Donald Friend (1914 – 1989). This striking 47 x 63 cm pen, ink, gouache and gold leaf composition on paper featuring 3 traditional sailing boats on the ocean comes with an estimated price of between Rp 85 – 95 million. Village Scene in Batuan, 1968, Lot 541, is a vibrant, playful composition by one of the most popular Batuan traditional painters, Ida Bagus Made Widja (1912-1992). This 42 x 82.5 acrylic on canvas work with dynamic coloration has an estimated price of between Rp 65 – 80 million.

Donald Friend "Outriggers Bali"                                      Outriggers Bali – Donald Friend

 

For new collectors with smaller budgets the following works offer good entry points into the market, especially if purchased within their estimated prices. Dasa Muka, Lot 525 is an excellent composition featuring mythological characters from the Balinese religious narratives by Gusti Nyoman Moleh and comes with an estimated price Rp 12 – 15 million. Lot 526, Bima ke Suarga Loka by the renowned painter of the unconventional Dewa Putu Mokoh (1913 – 2010) comes with an estimated price of between Rp 15 – 20 million, and Lot 559 Balinese Temple, by Kartika Affandi (b. 1934), the daughter of Indonesia’s first modern master Affandi (1907 – 1990) which has an estimated value of between Rp 14 – 18 million.

The following works will capture the attention of connoisseurs of Balinese traditional art. Nyoman Kayun (b. 1954) is considered one of the last living masters of the Ubud School of traditional painting and his compositions often depict old oral traditional folktales that are transmitted verbally through songs. Lot 520, Keluarga di Desa by Kayun has an estimated price of between Rp 35 – 45 million and comes with good provenance. Gembala Sapi. Lot 523 by Wayan Radjin (b.1945) the son of the celebrated Batuan artist Made Djata (1920 – 2001) has an estimated price of between Rp 55 – 75 million.

541                               Village Scene in BatuanIda Bagus Made Widja

 

Ida Bagus Made Poleng (1915-1999) was born in the village of Tebesaya, Ubud and was considered the finest of all of the Balinese traditional painters. His paintings, which he referred to as ‘his children’, are in high demand. Lot 524 Mandi di Pancuran, a 49 x 32 cm acrylic on canvas composition depicting two men bathing has an estimated price of between Rp 130 – 180 million. In charming, glowing reddish tones, Lot 543, Nonton Wayang by Ida Bagus Made Nadera (1915 – 1998) features a crowd of villagers watching a wayang kulit performance and comes with an estimated price of between Rp. 30 – 40 million.

An unusual item on offer, Lot 510, Rice Granary, Bali, a 36 x 28cm lithograph by Mexican artist Miguel Covarrubias (1904 -1957) comes with good provenance. Covarrubias was a gifted caricaturist and illustrator who wrote the landmark 1937 cultural and social study on Bali, Island of Bali. This work has with an estimated price of between Rp 10 – 13 million.

Ida Bagus Made Nadera," Nonton Wayang", 95x125cm, acrylic on canvas. - Copy                          Nonton WayangIda Bagus Made Nadera

 

Buying art as an investment is possible with the right strategy and this includes purchasing and holding a work for at least 10 – 20 years before selling. Three opportunities are available in the genre of Balinese contemporary art, including the aforementioned Lot 555, by Teja Astawa. Made Palguna has also developed his own ‘voice’ that is distinct within the sphere of Balinese contemporary art. Lot 553, Mencari Orang-orang Marjinal, 2003 by Palguna comes with an estimated price of between Rp 18 – 24 million. The final item for auction, Lot 577, comprises of two paintings, a. Energiku Bertambah, 2003, 70 x 70 cm & b. Malam Bergelora, 2001, 26 x 30 cm, by the iconic Balinese female artist IGAK Murniasih (1966-2006) who raised issues of sexuality, identity and gender politics in her works. These provocative paintings have an estimated price of between Rp 35 – 45 million.

There are many other strong works available in this auction, two are by the renowned traditional painter Gusti Ketut Kobot (1917-1999 Pengosekan, Ubud), Lot 531 Jatayu and Lot 527, Scene from Rajapala Story, while Lot 528, The Witch and the Servant, an ink on paper sketch by Gusti Nyoman Lempad has excellent provenance. For collectors interested in Indonesian modern art there are good works available by artists Widayat, Soedarso and Soedibio.

527                             Scene from Rajapala Story – Gusti Ketut Kobot

 

Potential buyers bidding over the phone, absentee bidders or real-time Internet bidders 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.

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.

Dewa Putu Mokoh "Bima ke Suarga Loka"                             Bima ke Suarga Loka Dewa Putu Mokoh

 

Open to the public at the Larasati Art Space in the Tebesaya Gallery the auction starts at 2:30 pm Saturday 16 February, while viewing begins from 11am Thursday. The online catalogue, complete with a guide for prospective buyers is available at: www.larasati.com

 

Ida Bagus Made - "Mandi di Pancuran"                          Mandi di Pancuran – Ida Bagus Made Poleng

 

 

Viewing:

Thursday,         14 February   11am – 7.30pm

Friday,              15 January     11am – 7.30pm

Saturday,         16 January     11am – 1pm

Auction: Saturday 16 February, 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 Auctioneers

 

 

 

 

 

 

 

 

 

 

Aswino Aji’s artistic observations of the ego in the face of the Balinese culture

Artist Made Aswino Aji & "Doors of Perception" Image R. HorstmanBalinese contemporary artist Made Aswino Aji and his work “Doors of Perception”

 

An acute sense of observation is an essential talent for a contemporary artist. The ability to scrutinize and reflect on one’s own conduct and thoughts, along with that of the collective, is a doorway to art rich in meaning.

For more than a decade Balinese artist Made Aji Aswino has been an avid onlooker and critic of the human character and behavior, especially what he has witnessed within his own society. His sketches, paintings, sculptures and installations focus upon the pitfalls of the human ego.

Painting by Made Aswino Aji Image R Horstman                                   Painting by Made Aswino Aji

 

Initially his paintings were dark and moody depictions featuring a central figure with an elongated nose that made reference to the tale of Pinocchio. A fictional character and the protagonist of the children’s novel The Adventures of Pinocchio written in 1883 in Italy by Carlo Collodi, then brought to life in popular culture in the 1940’s by Walt Disney, the tale describes when the child, Pinocchio, tells a lie, his nose consequently grows. Aswino Aji utilizes Pinocchio as a metaphor for the human condition, because, says the artist, “We often tell lies, and bend the truth.”

During the landmark 2013 exhibition “Irony In Paradise” by the Balinese art collective Sanggar Dewata Indonesia (SDI) at Ubud’s Agung Rai Museum of Art, Aswino Aji exhibited an eye-catching and imaginative sculpture that was highly critical of his Balinese culture. He adopted the topic that had been the focus of his paintings and sketches, this, however, was his first thematic venture within the 3 dimensional form.

Made Aswino Aji, "Under the Shades 2", 2013, mixed media                             Under the Shade, 2013 – Made Aswino Aji

 

Under the Shade” featured the head of a Pinocchio like-figure carved from wood with a long nose extending out and upwards to form the pedestal for a Balinese religious ceremonial umbrella, which was positioned above his head. A controversial work, such direct criticisms of the local culture are rarely seen within Balinese art. When commenting about the work Aswino Aji said, “Many Balinese Hindu people live under the shade of their own culture while behaving contrary to its philosophies.”

In the most important international exhibition of Balinese contemporary art in 2016 that showcased the finest emerging talent of Bali, “Crossing: Beyond Baliseering, held in December at FortyFive Downstairs Gallery in Melbourne, Australia, Aswino Aji exhibited the monumental wood carving installation, “Doors of Perception”. Spanning four meters wide, by two and half meters high, his representation of a traditional doorway into a Balinese house created over a six-month period. It featured eerie figurines and faces of monsters that are his representations of the darker elements of the ego. Included also were some of the typical iconography to be found in traditional Balinese carvings.

Detail of "Doors of Perception" Made Aswino Aji. Photo R. Horstman                                 Detail of “Doors of Perception”

 

The vibrantly painted creatures adorned the work along with his Pinocchio character – a reflection on the pretensions and lies of everyday Balinese society the artist witnesses.The dynamic colours of the outside of the entrance represented varieties of ‘disorderly’ human personalities, while the inner side of “Doors of Perception” reflected life’s dualities, painted in subdued monochromes and representing the ‘peaceful’ personalities.

Ego Invasion”, 2018, Aswino Aji’s most recent installation is themed upon the candi (Balinese temple gates) and is a commissioned art work for Soundrenaline – Soul of Expression GWK Bali, 8-9 September 2018, a music and youth cultural event held at the GWK Cultural Park in Jimbaran. Created within a whirlwind one-month period at his studio, Aswino Aji employed wood carvers from his family in Silakarang village, Gianyar to help carve the icons and build the structure. With dimensions measuring over three meters high by three meters wide, one of the strengths of this work was in its design, engineered to be simply and quickly dismantled and reinstalled.

Detail of "Doors of Perception" Image R. Horstman                                   Detail of “Doors of Perception”

 

According to the Balinese Hindu belief system outside the temple the ego is free to be expressed with individual autonomy, once a person passes through the temple gates, however, the ego must be disciplined and restrained. This practice, according to the artist, is being ignored. “The ego can be our greatest enemy, or our dearest friend. In daily life man often plays with his ego, its dualities can be mutually supportive,” Aswino Aji says. “Sometimes the ego’s self righteousness dominates, while other times it remains hidden away. In my minds eye the ego is a monster – man is a monster!”

Born in 1977 in Silakarang, Aswino Aji is the son of the wood carver, renowned contemporary artist and gallerist Wayan Sika. Following in his father’s footsteps he studied fine art at ISI Yogyakarta, the Indonesian Institute of Art in Central Java, were he resided for five years. Aswino Aji has taken authentic motifs, patterns and forms from traditional architecture and sculpture and has presented them within the contemporary art realm, while making relevant social statements. In doing so he has made new inroads in Balinese woodcarving and an important contribution to the development of Balinese contemporary art.

"Ego Invasion" 2018 Made Aswino Aji. Photo R. Horstman                             “Ego Invasion”, 2018 – Made Aswino Aji

 

"Ego Invasion" 2018 Made Aswino Aji. Image R. Horstman                                   Detail of “Ego Invasion”

 

 

Words: Richard Horstman

Photos: Richard Horstman