Water Drop Imagination

Artistic enlightenment of raindrops crashing to the pool’s surface.

The photograph works that contain high artistic values started off from a simple coincidence. It was a hot afternoon, but not long after, rain poured ever so heavily. After venturing through the corners of Bali on his rented motorbike, photographer Stephan Max Reinhold arrived at his hotel soaking wet. He didn’t go directly to his room, instead he dove himself straight to the swimming pool. Might as well, Max thought.

It was during his joyful time at the pool that Max witnessed nature’s “wonder”. An event mostly taken for granted. Just like Newton who discovered the law of gravity as he contemplated on the fallen apple, Max encountered enlightenment as he witnessed drops of rain crashing to the pool’s surface.

The raindrops fully caught his attention. His imagination roamed free. The raindrops seemed to form pearls or ornaments, sometimes forming shining crystal tiaras. Refused to lose the magnificent moment, Max immediately took his digital camera and captured the sparkles of water on the pool’s surface.

The results are fantastic, magical, and very fascinating photos. Max then went on to his next experiment. He tried putting various items and colors that makes biased reflections on the surface of liquid, to attain certain effects of water sparkles or drops. He experimented with different sorts of liquid, such as plain water, milk, food colorings, paint, oil, and even soap. And then, with the photoshop program, he tidied up his shoots results, without altering or manipulating the already formed imageries.

The photos are printed on canvas with large format printer using special ink. When observed, on the photo titled “Purple Haze”; shown three drops of water those form crystal pearls on the surface of a reddish purple liquid. The surface of the liquid forms the texture and circular or luminescent linings.

For another example, the photo “Ozone Waves” presents sparkles of red blood water that forms sharp pointed stacks. Four water drops the likes of drops of blood floating above it. On the bottom; greenish liquid surface that centralizes on the red blood circle becomes the base for the sharp tip.

And so it was. Max’s works showcase very imaginative imageries and landscapes. Rhythms of linings, colors, and textures combine and forming abstracts those are able to lead the appreciators’ imaginations to the world of fairytale.

Max claims that his works are combination of art, science, and technology, that also reminds all of how important water is to existence.

Imagination and Drawing Art

Free streaks of lines, resulting in unsuspected shapes.

In the world of fine-arts, drawing has been considered as the second class art. Many perceive drawing as nothing more than just scrapes to practice on flexibility of the hands as creating lines. However, such is not the case with I Ketut Sugantika alias Lekung. Feeling jaded with painting art, he goes back to pencil and creates drawing art on paper and canvas.

His drawing creations posses their own uniqueness those are quite imaginative. The streaks of lines are done freely, flowing with the rhythm of his imagination. The result is unsuspected shapes, such as the form of animals or humans those are distorted and absurd.

Take for example, his work titled “Object 15 (the Power of Indonesian Women)”; that presents the figure of an afro haired woman standing on a steel covered vehicle. The hand of the figure forms a crouch, while on her shoulder a string of rope ties around a missile. On the right lower part the head of a man with a Mohawk styled hair emerges.

Then on his work “Object 11 (Thousand Hand)”; the figure of a woman whore shoulder are overgrown with hands can be seen, almost making a form of a propeller. While as in his work ”Touring”, he shows the naïve characterized figures those remind us of children’s drawing around the house walls. However, in the other hand, some of his works present figures of naked women sitting with their legs spread apart.

Through this exhibition, Lekung tries to raise the dignity of drawing art. Besides 20 drawing works, there were also two sculpture works. The sculpture works are formulated from found metals and items, such as used mufflers and motorcycle parts, gas tube, and so on. A large size sculpture and the found items take shape of an alien vehicle, such can be seen on the sculpture titled “Object 24 (UFO)”.

I Ketut sugantika was born in Singapadu, Gianyar, 17 August 1975. Finished his study at the ISI Denpasar, since year 1994 he has been active in various collective exhibitions. In 1995 he was awarded by the Embassy of Peru. In 1999 one of his works was a finalist for the Winsor & Newton Award, and in 2003 he had his debut sole exhibition at the Cultural Park of Bali.

Petter Dittmar’s Window of Colors

Combining the Western painting technique concept with the Eastern philosophy.

Petter Dittmar does his works on surfaces layered with some sort of paper made of burnt rice straw (merang). The surfaces are shaped by referring to ancient symbols, such as full circles, squares, and rectangles; those present a window with a certain nuance of color. To image the empty space, he hollowed the center of the surface with circular shapes.

On those merang layered surfaces, Dittmar created color brushes of light brown, grey, blue, red, and a mix of grey with golden yellow as the background. The basic coloring was then sealed off with a special tool, emitting the track of textured and varied lines, such as the curve, wave, and straight line. The entire details can be seen on the painting titled “Color Window” that presents tracks of curved linings on the base of red color, which then centralized on the square surface posing a cloe colored window.

On some of his works, above the basic color he would create a variety of surface by the spreading of certain colors that expose the impression of transparency and sometimes show the accentuation of bright red, black, and golden yellow surfaces. On some of his other works, he arranges the composition of spontaneous lines and the sparks of colors that shape into calligraphy, such can be seen on his work titled “Small Color Window”.

Peter Dittmar made the effort of combining the Western painting technique concept with Eastern philosophy. The portraying of surface and colors refer to the concept and philosophy of mandala (mystical surfaces), making it a whole combination in his works that give spiritual impressions.

Peter Dittmar was born in Munich, Germany, in year 1945. From 1983 through 1984 he lectured on fine-arts subject at the Jakarta Art Institute (IKJ). He has been holding numerous collective and sole exhibitions at the major cities of the world. Since 1982 he resides in Bali, and in year 2002 he opened his own studio in Sydney.

The Power of Water Paint Exploration

Rusli’s exhibition inspired his career path as an artist

A man told of his childhood, “Back then the nature was still flourished, trees galore. Aside from playing ball, climbing trees and fruit picking were the fun activities to do. The today children no longer have those moments. That childhood then was as living in paradise. Now, all has change.."


Spoiled by the beauty of nature, the child grew to be someone who is so in depth and sensitive towards his surroundings. His contemplation becomes expressed even more as his father gave him water paint as a present one day. With the water paint he starts to brush lines of nature on grass-made papers. Before, he did it with pencil on the walls of their house. But now, as water paint becomes his favorite, he frequently asks his father to buy him the tool.

“I remember the brand of that water paint, “Guitar”, just ordinary water paint. From then I started to be fond of drawings. Since father has always bought me water paint, I grew accustomed to it.”

Spending his time more often by brushing nature’s lines and colors by water paint, as he grew up he then established himself as a painter, by self-learning. For even as he loved to paint since such a young age, the world of fine-arts is just a passing through comprehension; it never crossed his mind to concentrate more to it through formal education.

His awareness and steadiness to focus in the world of art becomes entirely solid as he observed Rusli’s exhibition in the Ismail Marzuki Park back in 1975. The exhibition had really inspired his following career path.

Agus Budiyanto, is the name of the artist who is so fascinated by nature and the effects of water paint. He was born in Jakarta in 1960. His closeness to nature since a child has brought him to consistency in focusing with the same theme and media.

Consistent. The word in Agus’ mind does not contain the short meaning of no exploration. On the contrary, Agus continuously explores in his works, technique, media, and also theme wise.

Agus always tries to explore the newest possibility he can reach through the characteristics of water paint and paper. For the me-dia, by using the best quality paper he tries to break the perception that water paint painting done on paper will not last long. While as for the theme, such as the infinite universe, such is Agus’ exploration on his works. He works on various objects, though nature still dominates his themes.

“I’ve tried painting with oil paint, but the results came as dissatisfactory. With no disregards intended to other media users than water paint, but it is only by water paint that my passion for art can really be expressed,” he explained.

The characteristic of water paint that can only be brushed once with measured precision, for Agus, keeps him “honest” in working. Of course, different with the oil paint painting that is arranged per layer, the water paint media has the “one shoot one kill” characteristics. So, such as a sniper, the painter has to have precise accuracy in moving his brush. Just one miss would mean damage, because it would be irreversible.

By continuous exploration, Agus’ works is as the nature with its rhythmic movement. From only transporting objects to his works, his feel sensitivity keeps on being sharpened and has brought him to the point of image power. “I capture sound not by ears, but more by the feel,” that is what Agus always emphasis on his current works.

Agus no longer chases the description of shapes, but more to the built feel issue. He captures the moment and filters nature’s energy from surroundings. To date there are still Agus’ works that is in abstract style.

“This has something to do with my habit of listening to New Age music. The rhythm of music plays a rather big role in influencing me working.”

Agus Budiyanto, has spent more than 30 years in focusing the world of fine-arts. The title “The Best Artist of South Jakarta” in 1980 and “The Best Artist of Jakarta” in 1982 were held by this man. Besides being active in collective and sole exhibitions domestically, he frequently holds exhibitions abroad. Amongst others are the Biennale Internazionale Dell’Arte Contemporena in Florence, Italy, and The Asia Pasific Watercolors in Jeju Island, South Korea.

However, from his early days of learning to paint to date, Agus’ loyalty to the water paint media can never be replaced. That is why he held the AquarEvolution exhibition at the National Gallery from July 8th-18th 2010. This is as prove that water paint paintings have so much to say in the world of fine-arts.

“Don’t discredit the power of water paint.”

Learning to be Human

Deep within each human there is the nature of wilderness, and vise-versa.

Suwarno Wisetratomo was looking for the ground point of two God-made living creatures. Through the art exhibition titled “Beyond Animal”, he took on sculpture artist Noor Ibrahim; who displayed his works with animal as the object. There was also a painter by the name of Ben Wong; who showcased the object of human’s self-portrait painting.

Various self-portraits that Ben Wong chose were famous figures from a variety of generations. Say one (series about) Frida Cahlo, a painter figure from Argentina who throughout her life (1907-1954) was known to have a rather controversial image. In another work, Ben Wong showcased the series on sacred people by reliving the religious figures from various parts of the world, namely the Dalai Lama, Mother Theresa, and Carol Wojtyla (Pope Paulus).

Ben Wong also made the series on the German native dictator, Adolf Hitler. While as the local figures from Indonesia who were made objects were thelegendary painter Affandi, and Chairil Anwar the poet. The entire self-portraits of those figures were each displayed their characters by oil paint. “It is through those figures that I present the choice of life. It is up to ourselves what we would like to become,” Ben Wong said.

Noor Ibrahim gave out a comparison on human behaviors that Ben Wong had already displayed by numbers of sculpture works with animal objects.

Amongst others they are the dog, ant, scorpion, bat, elephant, giraffe, donkey, horse, cow, chicken, and many more. They were all done by the palo technique that he has been known for. This is in the detail sense that the surfaces of those animal sculptures those are made of iron and stainless steel are dented die to the processing method which is grounding them with a sledge hammer.

Ibrahim admitted to having some life lessons or interesting learning from the animals. Like the time when he was a student of the ISI Jogjakarta, he once slept on the campus area floor and was stung by a scorpion. He never blamed the scorpion that stung him, rather himself for sleeping carelessly, making the scorpion felt disturbed.

Aside from that, when the earthquake was about to strike Jogjakarta in 2006, his pet dog, that for the sake of “kosherness” was given the name Jackfruit (the fruit), kept on barking for hours as if wanted to tell of what is about to happen.

“There are actually many lessons to be taken from animals. One other example, for instance, the animals only eat what they need. Compare that to us (humans), who often times over-eat ourselves,” explained the large-sized sculpture artist.

Morale Decadence

When socio-economy-politic decadence has gone so bad, cleansing is required to take place.

Two figures of giants; one male and the other female. The male giant is known by Lelepah whilst the female is called by Aluamah. Both giants are known to be greedy and self-indulged; they will eat anything in sight. “Just like most of our running officials, greedy, anything is edible to them, regardless of the people’s hardships,” claimed Sri Warso Wahono, one of the artists involved in the exhibition.

In his work “Rampogan 2010: elepah Aluamah”, Sri Warso Wahono tried to illustrate the characteristics of some officials. When a tax official “loots” the tax payment that was supposed to go to development; the law enforcements can only step on the weak; and when the elites only think of themselves and their importance without ever considering the needs of the people. That is called morale decadence.

What to do? “Detergent” may well be the answer. The exhibition theme pioneered by the Jakarta Board of Art is rather unique. The title is very populist; making it easy to digest. In daily routines detergent is known as the soap regularly used to cleanse dirty laundry. When the word “detergent” comes into the frame of art and is used as the theme for an exhibition, it’s easy to understand that what is meant is not an issue of dirty laundry, but more to do with the dirty heart and soul.

“Detergent” became the answer for the nation’s condition highlighted by Sri Warso Wahono and other artists in this exhibition. Artists as part of the society, should pay attention to what is happening to the environment. As the idealist figures with free spirits, it is just right that artists have the capability to be some sort of mirror to reflect reality.

As many as 27 artists took place. The reside around Jakarta, Bogor, Bekasi, Depok, and Tangerang. The carried out theme “Detergent” is of course nothing new. Similar kinds of themes were also carried out, often times even. In this matter, in the midst of the world of fine-arts that is more market oriented, the presence of “Detergent” becomes a significant alternative.

Another side to stress out, “Detergent” is a learning; and not haring; criticism. The critic is the sign of care by artists, in order to build a better socio-economy-politic living. This is especially for this country, right now.

Digging into Hidden Potentials

Young artists deserve support and have their works collected.

The painting potential and proficiency of Indonesian children is magnificent. Without any formal education on the subject, they are able to produce beautiful and characterized works. Just observe the 150 painting works by Indonesian children from 21 provinces and numbers of works from art studios in various cities in Indonesia at the walls of Indonesian National Gallery exhibition spot of Jakarta. Most of them are the product of art studios in each region.

Exhibition curators Indra C Noerhadi and Kuss Indarto did not limit the media and techniques used. They were free to use crayons, water paint, oil paint, conte, collate, and other materials in their works. This exhibition is a celebration to place children of ages 6-12 that received awards in various painting competitions locally, nationally, regionally, and even internationally.

In accordance to the theme, most of them take on the cultures of various regions in Indonesia. Traditional outfits, houses, cultural arts, dance, and various other artistic forms were painted. Priska Ivena of Bandung that received a gold medal from a drawing competition in Egypt, silver medal in Japan and Egypt, Bangladeshm Slovenia, Poland, and a number of other countries; presented the drawing of Wayang Togog. The Javanese traditional artistic icon was arranged with a rather detailed color and line composition. Each of the body parts were brushed with different colors, maing the drawing comes to life. Togog was portrayed short figured, big bellied, and comic characterized.

Chel’en Christevelyn Dewi from Jambi displayed the painting of Chinese Lunar Year Celebration in Jambi. The work imaged a boy and girl celebrating the event, both happy and joyous. On their hands a red cloth with Chinese script was placed. The colors red and yellow dominated the canvas. This work wishes to celebrate the new Indonsia that has place Chinese tradition as part of its wealth. The iron hands those discriminated Chinese culture has know melted.

In the end, the exhibition will have a rather significant meaning for the Indonesian fine-art history, should the Jakarta Indonesian National Gallery be willing to collect the works of these children from various provinces. Because, all these times, there has not been any special large collection that stores the works of children those are worthy to be references in the progress of Indonesian children fine-art history. Should this be done, the Indonesian National Gallery will be noted down in the history of Indonesian fine-art history as one of the institution that is willing and capable of documenting children fine-art masterpieces.

LING NAN LUNG

The most important and The greatest 20th century of indonesian traditional chinese brush painter

Ling Nan Lung was best known as a painter and sculptor. He was born in Bangka Island and grew up from rich family as a Landlord and timah trader.Ling Nan Lung study at singapore high school he was an intelligent,smart and genius in his school. he got scholarship in his school and when he grow up he decide he want to become as an artist as a painters and sculptor. art for art shake and was born as an artist that time . ling become an young talented sculptor and be one of the best winner in china and learned to paint and met his mentor whose well known famous painters in china as QI BAI SHI, LIN FENG MIAN,HUANG BIN HONG,PAN TIAN SHOU, etc. he was exhibition together with Qi Bai Shi,Linfengmian,huangbin hong,wuGuanZhong,WangXueTao,etc on beijing 1950. when Ling become more well known and sought after he met one of the founder walt disney andd cooperate together for 2 years time in holland and New york.

he travel and visiting famous scenic spots in china,Indonesia, and europe and continue make an innovation on his arts. unfortunately when he came back from China to indonesia during 1965 the political situation not really good that time which alot of his paintings,sculptore,many chinesse traditional art works,culture being destroyed that time.

he is perhaps the most noted contemporary chineesse painter for the whimsical, often colourful,playful,and have strong character of his chineese classical brush paintings. the subject of his paintings include almost everythings we see in ordinary life: commonly animals, scenery, figures,toys, vegetables and flowers,opera, bamboos,insects,fish and abstracts he theorized that good paintings will live more than 1000 years and chineesse paintings prefer more feeling and expression from heart than a likeness. also an artist need have his own character,style,and becoming a pioneer,creator, and inventor ,whose not just cheat from other painters idea.

Ling Nan Lung art works was noticed and praised from alot curator and museums, one of museum is beijing art museum, Ml de boer museum, hangzhou arts museum. alot of professor,chinesse curator said Ling Nan Lung art works was the greatest and the most beautiful art works from indonesia they said LING NAN LUNG was the most important indonesian chineese painters on 20 century art. his art work was noticable because of his talent, own character paintings and sculptors, and all of his personal influences expreesed on and threw this work. and he represent indonesia to make indonesia proud that indonesia also have a great painters like QI BAI SHI, HUANG BING HONG, LINFENGMIAN,CHANG DA ZIAN,Wu Guan Zhong,etc Ling Nan Lung died at 84 years old (1915-1999) but his art will live long more in our world of art . His art just founded at 2009 on the old storage at palmerah. we search his paintings fpr making the book and his museum.

City of Jakarta on Canvas

The chaos of traffic, social imbalance, city volume, and consumerism.

The Capital is going to be moved to Kalimantan? That’s going to be difficult. This country hasn’t the money for it, making it hard to be realized even in the next 9 or 10 years,” said reigning Governor Fauzi Bowo in an informal chat on the capital city’s chaotic condition at the North Art Space (NAS) Gallery in Ancol.

The mentioned current condition of Jakarta was what was reflected by most participants of the 2010 Jakarta Art Award competition, with the theme “Reflection of Megacities”, with the city of Jakarta as the subjecy matter. The chaos of traffic, social imbalance, city volume, consumerism, to the ignorant characteristic of Jakartans; all showed in various dynamics.

Held since 2006, the Jakarta Art Award is a two-yearly painting art competition. The competition is the subsequence of the Golden Palette Award competition pioneered by the ancol Art Market and the Provincial Government of DKI Jakarta; limited by participants from Jakarta, Bogor, Depok, Tangerang, and Bekasi. Fauzi Bowo was still in the Vice Governor position at the first event.

In order to widespread the competition, the Golden Palette Award transformed to the Jakarta Art Award with participations opened for nation-wide painters. Lately the 2010 Jakarta Wart Award has been sounded to international level, by involving many participants from various foreign countries.

Kim So-young, Lee Min- Ju, Halley Cheng, Victor Angelo, are a line of international participant names that contributed in the 2010 Jakarta Art Award. And if it is true what was said by Budi Karya Sumadi, the Chief Director of PT Pembangunan Jaya Ancol, that this event is the first ever international competition that is held in Indonesia, this comes as quite a pride to us.

Came as the 2010 Jakarta Art Award winner is Putu Wirantawan at first place, with his work “The Wandering Soul III”. Next is Agung “Tato” Suryanto with his work “City of Tomorrow”, and Imam Abdillah with “Dimensi Perburuan” (The Hunting Dimension) at second, and Aditya Novali with “(My) Comfort Zone” and Angga Sukma Permana with “Lie of Life” at third.

Most of the works displayed at the NAS Gallery criticized the current condition of Jakarta. Hopefully they can all be aspired as inputs to build a much more organized Jakarta.

Realism Will Never Dies

The morale in Sura Ardana’s realist paintings, becomes a warning of the disturbance happen to the concept of Trihita Karana.

In the art world realism has been having its own place for centuries. The realist style and realism in the art, survived the booming of photography and graphics art which technically surpassed the manual ability of human being to make art.

It was the peak of the art world when the social realism was in its hey day. It raises the emergence of the Fluxus and Dadaism, as the intention of the artists of the time to look at the social reality which was destroyed by the realism of the first and the second World War which took the lives of millions of people.

For certain artists, choosing the realist theme and style is not only about
showing their ability to draw an object with high precision and accuracy, but behind it lies a certain restlessness in looking at the social reality. For several artists, dealing with the social reality is their calling. They took it as their duty to carry the message through realism. This is the background of Sura Ardana’s comeback to the art world with his message of realism. It is a comeback because he had had a stagnation period in making his work. Also, he had tried to experiment with other forms such as abstract expressionist or figurative. But eventually he comes back to realism.

“I stopped (making realist works) before. But since 2006, I started to paint again. My background was realist. I explore other styles, but my soul is not there. I come back, again and again to the realist and realism, because making a work with other style for me is like lying to my self,” said the Tabanan born artist.

He gave the interview by the end of 2009 in his home studio. Ardana’s realist paintings have two main themes. First, it is an expression of his admiration to the hard and diligent workers. Second, it is a form of criticism towards the social condition of Bali which at the moment is being tested by changing world.

Ardana, a lecturer in Undiksa Singaraja who is currently undergoing his studies to get a master’s degree in ISI Yogyakarta, express his amazement to the hard workers who never complains. He was amazed seeing an old lady who still works as a porter in the tradition market of Yogya. All the burden that she had to carry on her back made it crooked, yet she still work as hard. Ardana was amazed in seeing the broken fingers on her feet caused by hard work. He holds deep admiration for his father who work until the break of dawn picking up sea shells to make chalks.

This admiration is depicted through his work Verisimilitude (very alive), with a subtle details, and an accurate precision. His technique might be called hyperrealist or photo realistic, but the meaning of the painting does not lies merely in the technical level, but also in the theme. The painting was trying to say to its viewer: don’t give up to easily.

The second theme in Ardana’s painting is the social problem of Balinese people who is undergoing great changes. Could the Balinese keep their tradition of Trihita Karana (three elements as basic to create harmony in nature)? Or would their tradition diminish, as a side effect of the tourism industry?

“The concrete example, not too long ago there was a Ngaben ceremony for brahmanas. Went the ashes was about to be spread on the beach, the procession must passed through a wall of certain inn. The procession must first ask for permission to go through there. It is odd, since the beach belongs to nature, why must we ask for permission to go back to nature. This is in my opinion is a social degradation,” said Ardana.

It is not unusual, if the figure of an old farmer is found in his painting. He is trying to remind us, how the farms which is one of the element of Trihita Karana, has become a life service to fulfill the need of the tourism industry. Farming is no longer a form of honoring nature, but artificially done to please the tourists.

Realist paintings like Ardana’s would always have its own admirer. It is not rare that the realist painter become the best painter of their times. Rembrandt for example, was considered a master because of his ability to tell a tale on canvas. He is the master of realism in his time, and some even considered him as the best of all painters. What will Ardana reach?

Technically, his ability is out of the question. What he needs is an exploration of the social themes. Locally, he needs something that touches the social problems of the Balinese people, and globally he needs something that touches the global society.

Developing Chinese Painting

One of the rooms of Nelayan Restaurant in Ancol, Norther Jakarta, was busy. Most of the attendances are middle-aged ladies. There were only few men. Some were busy brushing paint on paper, and several other ladies were busy paying attention to a 15 meter length paper.

“This is the work of Qibaishi, the imitation of Guo Peng. But it is excellent, so much similarity,” praised one of the ladies, while keeping her eyes on the paper.

And those middle-aged ladies are Guo Peng’s pupils. They were learning to paint Chinese painting, for it is believed to bring peace to the mind, and each scrap is gentleness and patience.

Guo Peng. He is a man of Chinese origin whom was born in the City of Zhou Pi Jiangsu, on April 21, 1980. He is a tall man with slanted eyes, swift character who loves to give directions to his pupils. He is quite young. Even so, his talent of art had appeared since he was five years old. To sharpen his skills, at the age of 20 he enlisted in the Fine-Arts Faculty of Nan Jing University. In Nan Jing he has already hold two exhibitions, while in Jakarta he did one. His first ever painting is titled “Bamboo and Avian”.

He came from a less fortunate family. While attending college in Nan Jing, he lived poorly. Not even for food, to just get paper and ink Guo Peng had to buy them on credit. “All I ate everyday were only salted vegetables and bakpao,” he reminisced.

With troublesome condition, in year 2004 after graduating from college, Guo Peng explored Indonesia. He was accepted to teach Mandarin in one of the international schools in Jakarta. Ever since then live has been getting better for him. From his teaching earnings, he settled all his debts in Nan Jing.

During his stay In Indonesia, Guo Peng did plenty of observations to Indonesian artists. Avanti and Srihadi are amongst many Indonesian artists who he perceives to have the best masterworks. “I also wish to do my best in the line of art. I will never cease to create,” he claimed.

At the age of 30 he proposed to Yu Xia Fen. From their marriage they have a son who is now 3 years old, named Guo Hou Ze. Guo Peng paints with his own principle. He does not want to paint basing on other styles or comprehensions. He will keenly paint what he likes. He does not care what other people comments are. Those are the things that make his ideas flow.

Concerning Ling Nan Lung, Guo Peng states that the person is one of the best Chinese artists in Indonesia. Ling Nan Lung ideas came from Lin Feng Mian. Guo Peng is very fond of the modern and abstract works by ling Nan Lung. According to Guo Peng, Ling Nan Lung only does what is aspired. Painting with feelings.

“Ling lives at the inappropriate era and time, when the masterworks are of very high value,” said Guo Peng.

OHD

This work created by deddy paw, with a tittle OHD

Justice for Water Paint

The emergence of memory sparks from dull and fragile material.

The unpopularity of water paint artworks turns for the best when a group of renowned painters produce in water paint. Nasirun and Entang Wiharso with their ever so expressive strikes presented unique figures. Nasirun in The Beach 1 and The Beach 2 seemed to very much enjoy the dissolving of water in the paint that gives out transparent effect. Nindityo Adipurnomo, whom lately is more known for his works in installations showcased the theme of identity and transculture issue in Mt Ancestor the Merchant; comprise of four panels. So was the provocative visualization of S Teddy D in Keep on Walk by History and Religiousity.

There was also Ugo Untoro, whom scratched The Very Straight Rainbow and The Black Was Born those conceptually brought up the subject of colors origin, also the naïve comical stylization Where is the Bali by Eddie Hara. And there were Putu Sutawijaya, Ivan Sagito, Agung Kurniawan, and Bunga Jeruk. It was so obvious that their spirit in the water paint artworks has not gone out. Their consistency even sparked new and interesting effects for water paint and oil paint have different characters.

This of course becomes a sort of battle chance for every painter. Even so, the challenge seemed to be faced through successfully and emerged the craftsmanship spirit of the artist. When the lasting, glossy and expensive oil paint has become a steady home, now memory sparks “come” with the dull and fragile water paint.

The display of numerous water paint artworks collection by Oei Hong Dijen has also become a whip for the present painters. In clarity the collection of Oei Hong Dijen affirmed that the water paint works by Affandi, Lee Man Fong, Wakidi, Rusli, Mochtar Apin, Sudjojono, to Antonio Blanco are terrific and must attain equal attention as their masterpieces.

Maybe the simple throw of the Syang Art Space owner Ridwan Muljosudarmo; that this exhibition is the attempt to “remind” is in fact true. Becuae no matter what, the art of water paint with all its limitations is a part of artworks that creation demands fulfillment on according aesthetic conditions. Justice for water paint, is our effort in making it last.

From Design to Pure Art

Reflecting a childhood of loss play time

Like most student at the Visual Communication Department of ISI Yogyakarta, Oky Rey Montha or better known as Kyre by his peers, done the work assign by his professor. He then submitted the work that he had made with all his heart and effort.

But what happened when he submitted the work to his professor? “You better put this outside. This work really doesn’t belong here. I think it will suits you better if you went to study there, said the professor while pointing to the Pure Art department,” said Kyre about his work while he was completing his studies.

And it’s not about that particular work that didn’t suit what he was studying. The young man born in January 3, 1986 have tried to work in the design world, by making illustrations and book covers for several publishers. But in Kyre’s opinion the relationship between a graphic designer and those with capital often ended up in a cliché: simply to fulfill an order.

For a while he was torn apart because he was in the design world while his heart was actually in the pure arts. This something that he realized and forced him to came up with a decision. Although up until now he was still studying in Visual Communications Design department, since the fourth semester he decided to not work with the typical pattern taught in the department. Instead he worked with the pure art style that gives a creator an infinite freedom.

The first step of Kyre’s decision can be seen in his work Personal Thinking #1 and Personal Thinking #2 both have the dimension of 180x170cm. In Personal Thinking #1 for example, he depicted himself strapped to a chair while a red carpet and slippers is in front of him, as though waiting for him. “What’s so hard about taking the first step,” he said about the painting. The funny thing was he was so driven to make paintings yet he didn’t have the money. The situation forced him to borrow canvases from his friends. “I’m lucky some of my friends were willing to lend me canvases,” said he.

The canvases became some sort of icon of history for Kyre, and he’s really eager to track down the two works. The thing is, when they were exhibited int “Expo Signs” an event held to commemorate the anniversary of ISI Yogyakarta, both of the work was bought by collectors. “I really want to buy them again because it marked the beginning of my journey, and it was a process full of mystery. Unfortunately, until this moment I haven’t have the chance to meet the collector,” said he.

For the young man who pioneered the visual community called Tempat Kecink (TK—literally means a place to piss) every work is his personal note. If he felt content to pour out whatever he was feeling and his ideas on canvas, one phase of process was completed. “ I never think what will become of my work, whether it will be sold or not. Maybe I disregard the market for a bit, but that’s just how it is, if I made something to comply to the market, then that means I am back to being a mere designer,” said he smiling.

Although he does not think too much about the market, it is really friendly to Kyre. In the beginning of April when he held an exhibition title “Evorah” (Evil of Rabbit Head) 13 of his work was sold out, bought by collectors.

“Maybe Kyre’s work was unique. With its imaginative characters, which was almost always represent him and his girlfriend, “Evorah” has shaped a fictional glamour world, with bright colors, but also give a mysterious allure, depression and gloom.

The work in “Evorah” become a reflection of Kyre’s childhood, at the time he was seldom had the time to play. The rigid rule of the family and his status as the first child in the family made his days filled with chores and to take care of his siblings, even when he was in junior high, cooking dishes had become his routine duty.

“It was in the past. I just want to take note of that world of mine. I also plan to hold a solo exhibition,” said he.

“Shampoo Ginger” from the East by Gede Gunada

Karangasem, the furthest east of Bali Island, is a district that is often times considered slow and is under the poverty level. Many of its natives settle in Denpasar or other regions for better living. However, not many people are aware that Karangasem holds an amazing nature landscape and a magnificently unique cultural art potential. Karangasem has also given birth to several painters those are still at national rank. To name a few, Nyoman Sukari, Wayan Redika, and Made Sukadana.

In Karangasem, blooms a fine-art group who name themselves “Lempuyang Fine-Arts Community”. Lempuyang is the name of one of the mountains in Karangasem that is considered sacred by the Balinese. The Lempuyang Community established in 1993 and has held numerous collective exhibitions, art camps, art discussions. Some of its members have even participated in the national and also international scaled events. For example, in 2007 they were involved in the “Earth Calling Bali” in the Global Warming & Climate Change Forum held in Nusa Dua, Bali.

Now, after a moment of vacuum from art activities, Lempuyang is back in action. To add more flare, Lempuyang invited several painters from outside of their community to showcase paint and sculpture artworks. Generally the exhibition shows how the members of the community are trying to show their latest artistic achievements. Such can be seen on the work “Pro Evolution Soccer” by Nyoman Sukari whom shifted from the theme of drunks to soccer fanatics, though still keeps the visual of his figures in his old style. On another side, Sukadana left the Barong theme, and is now busy sounding pluralism through his latest paintings.

The struggle of thematic exploration and expression style could also be seen on the works by Gede Gudana, Dalbo Suarimbawa, Ketut Tenang, Gede Sugiada, and Nyoman Triarta. Gunada, for example, on his work “Rabies”, processes the issue of rabies disease that was spread in Bali through his wild and imaginative brushes. Sugiada and Triarta criticize power and muscletalk through satire toned works. All wish to show that theLempuyang Community still has its artistic breath.

Dance of Colors by I Wayan Sudarsana (Yansen)

The colors flowed so soft, spaces that they formed seemed to not be the end of the stream but more to the long journey that have yet to see its end; or even maybe without no end.

I Wayan Sudarsana or most known by his nickname Jansen, the artist from Bali with his sieving technique allowed that kind of visualization to manifest on his abstract works. Through the sieving technique, Jansen let the colors move free, making the visualization created on the canvas as colors that roam free in search of their medium.

“Here, Jansen is nothing more than a media. I’m even confused whether to sign my works or nor” Jansen said.

By sieving technique, the intensity of closeness between Jansen and his works seem to unite more. Holding the canvas with both hands while sieving makes him and his works have absolutely no distance. It may well be assumed as if the canvas space and body media had become one soul. In this matter, it looks as if Jansen avoids to “damage” his soul representation with a personal ego in form of a signature.

On one side, Jansen had also construct representation spaces of the soul, thought, and dreams in the macro-cosmos scope. The space he had constructed does not just tell on “personality”, but on his canvas Jansen constructs a “collective” space where the dream and thought represented could also be everybody’s dreams and thoughts. Isn’t the dream in freedom that leads to happiness is also everybody’s dream?

“If possible, try to take a picture of it at a very close range, and enjoy. It is very rare that you experience such freedom. And be assured that we weill meet in a dream,” Jansen elaborated.

So, should Jansen be selfish by “clustering” the dream that actually belongs to public through a signature? Jansen’s works that flow, freely, calmly, peacefully, and bring joy are the representation of every man’s dream, and Jansen is very much aware of it.

A thousand interpretation can be created as freely as the flow of colors. Jansen allowed the observer of his works with their own “readings”. Jansen “frees” his works from titles that may lead one to a certain thought. It was told that one day during a painting on the spot session, a shepperd approached Basuki Abdullah. “Nice,” said the shepperd. Basuki loved that; he loved his works to be enjoyed rather than to be “discussed” by all sorts of theory. The same thing goes for Jansen’s works. Just enjoy them.

New Life

Eternal Vow

Eternal Vow by Nani Sakri, 2011, ukuran 120x150cm, Acrylic on canvas.

Laksmi Shitaresmi's work

Wayan Kun Adnyana Work

This painting is created by wayan kun adnyana