Bali and Back
Yes, friends and readers, it has been a very very long time since my last entry on this blog.
In my last post, I announced that Fine Art Magazine of Thailand had requested three articles outlining what I had found in my research so far. In the end, it will be one long article appearing in the August 2006 issue. Writing this—perhaps I’d call it premature digestion—felt like two months, but in fact it was finished inside of three weeks and is now in the hands of the publisher. I’ve posted an advanced copy of the article here.
Have I been idle? No, definitely not. I’ve been from Chiang Mai to Bangkok, back to Koh Phangan, to Singapore, Jakarta and Bali, Indonesia, and now am back in Bangkok. Perhaps travel fatigue could be an excuse, but this is also not really the case. Lack of convenient internet access and full-on cultural disorientation in Indonesia are the excuses I’m sticking to. Delays have been aggravated by a nasty burn on my ankle from a motorbike tailpipe, lots of uncertainty about where I would be next, and work on the next phase of this website, which will include a searchable database of artists, are also part of the story.
In the course of this time I have met two great artists in Bali, shot a book for one, learned a new country, and spent the last few weeks of my trip working with Michael Messner on developing the concept and presentation for a new art museum project in Bangkok- a great opportunity, as Michael and his father Artist Ernst Fuchs are extremely involved in the world of Phantastic and Spiritual Art in Europe and Asia.
But back to the travels…While working on the article for Fine Art, I traveled to Indonesia on May 15 and spent four days in Jakarta before continuing on to Ubud, Bali. Bali is Indonesia’s most popular tourism destination, a land of beautiful beaches, mountains, and highland lakes. Unlike the rest of Muslim Indonesia, Bali is predominantly Hindu, and the island is so steeped in ritual- dance, music, festivals, etc.—that it is undoubtedly a very spiritual place. From the spirit houses that grace every
family compound and public space to the daily offerings to the spirits made by households and businesses, to the frequent temple rituals including elaborate cremations, Balinese culture is steeped in its spiritualism. Here’s a picture of a temple dance ceremony I attended with one of the artists. I was happy to be the only tourist at this celebration, whereas others I attended were either designed for but empty of tourists or packed with them.
I chose to explore Bali at the urging of many artists I had met along the way who reported that among Southeast Asian places, Ubud Bali is one of the most important. On arriving in Ubud, it was clear that the place lived and breathed art. While I have many good things to say about Ubud, I had to admit that the art scene surprised me: as dense as it was, there were really very few serious fine artists making original contemporary artworks concerned with or inspired by spiritual themes. Bali’s island culture is steeped in art and craft, to be sure, and the handicrafts and carvings, for example, are second-to-none. Yet, with a few very notable exceptions, what I found in Bali was an art-culture obsessed with its own Balinese-ness: dozens if not hundreds of artists painting about Bali, and dozens more doing copies (or not very original originals) of contemporary, abstract works. Not everybody agrees: here’s an article that gives you a run-down of the scene there perhaps a bit out of date, but still illuminates the landscape.
The bright spots, however, were very bright. In my three weeks in Bali, I was able to connect with two very interesting artists, I. Madé Sumadiyasa (Madé), a leader of the younger generation of abstract (or semi-abstract) artists whose large-scale work is recognized around Asia as being truly inspired, and Dewa Nyoman Batuan. I have to thank Korney Choy of the Bamboo Gallery LINK for helping me navigate it a bit, and introducing me to Made as well as noted Malaysian artist Chang Fee Ming and for hosting me for dinner not once but three times. I will also publish another article in Fine Art about a third artist who Korney works with- J. Philippe Hauer whose recent exhibition in Jakarta was an important debut of a new style of permanent expatriate artist in Bali…more on this later.
I arrived to Bali soon after the Quest for Global Healing II conference, a project of the Institute for Notetic Sciences, an organization dedicated to “exploring the frontiers of consciousness.” (think “What the Bleep do We Know?”) founded by Apollo 14 Astronaut Edgar Mitchell.
The Institute had brought together including Bishop Desmond Tutu and two other Nobel Laureates, and a lot of media-friendly consciousness types. It was a big event for Bali, whose tourism industry has been suppressed since the 2002 and 2005 bombings. I mention this because I first saw Madé’s work in the catalog for his solo exhibition titled “One World, One Heart” from the first Quest for Global Healing conference in 2004, and was impressed by his work, though not sure exactly why.
As soon as I saw his works in person, it was clear—there is, as you might say—a lot of “juice” (choose your synonym: shakti,
prajna, chi, qi, current, life force) running through this painter and onto the canvas. Made is probably the most successful of his generation in Bali, and his grand-scale semi-abstract works are nothing short of overpowering at times in its depictions of dark/light, motion towards oblivion and salvation, etc. Although he and his gallery both insist that he should not be pidgeonholed into the category of “spiritual art,” they admit that his work attracts those recognized as spiritually connected and powerful. Made was chosen as (perhaps ‘elevated to’ would be more apt) the Artist in Residence for the Global Healing Conference, Bishop Tutu apparently stood in awe in front of the work that graced the conference poster.
Here are a couple of samples of his work. Just imagine these at about 3x2 meters- that’s over 9x6 feet—and you’ll get an idea of how impactful the work can be. These are This Blessed Land (2004) and Heart of Mind, Heart of Body (2003)
Is it spiritual? Well- it would be hard to deny that the idea of coming together in peace—One World, One Heart—rings some bells. I think there’s more to it, though. Made seems to channel something pretty powerful. Back in 1996, the Jakarta Post (Jakarta’s English language newspaper) ran an on his work around the time that, at age 24, he was shown at the Art in Asia exhibit in Hong Kong—Made’s premier on the international stage.
“The Balinese community, which in general still believes in mystic forces, is steeped in arts expressed by, among other things, irrational ways. What is referred to as the soul, the spirit, vibration in modern artists vocabulary, is called taksu in Balinese. Although not all agree, the composition of forms, the etching and brushing of colors by Made Sumadiyasa radiate vibration…
“An attractive empiric experience on vibration is perhaps found in Made Sumadiyasa’s painting entitled Sandhi Kala (Transition from dusk to evening) dating from 1994 and belonging to an unnamed collector. The owner admitted to having strange dreams and when he consulted a medicine man [sic] The latter said to return the painting to the painter’s house. It was said that after the collector did so, he could sleep soundly…
“Made Sumadiyasa says he does not intentionally express paranormal vibrations in his works. He is a vegetarian and practices yoga diligently. Pande Wayan Suteja Neka, the sponsor for Made’s participation in the Art Asia Hong Kong confirms that Made’s works are much sought after.”
Here are two pictures of Madé at the ARMA (Agung Rai Museum of Art) , where the conference is held.
I also met I. Dewa Nyoman Batuan (Batuan), an elder of the Ubud art scene and artist community whose zany mandalas reflect his unique approach and dedication to traditional Balinese spiritual practice. Batuan is the founder of the Pengosekan
Community of Artists, which, in the 1960s and 1970s, was a hotbed of training for young artists and craftspeople in the area in painting and basket-weaving, principally. This was before university art studies were widely accessible to Balinese youth…and before most artists in Bali were earning a living wage. So, believing in the power of collaboration, this teacher—who could not feed his family—moved to Pengosekan village in the south of Ubud and began a mutual support and teaching community for artists. They developed a characteristic floral style that is today known as the Pengosekan style, but Batuan—a very spiritual man whose English fluency is outdone only by his passion and prolific production of artworks—had another mission in mind.
I’m not sure that I can do justice to the teachings that Batuan layed on me—about oneness, about love, about the essential unity of all religions and spiritual traditions, and about the “rule of threes” (there is a before, there is an after, so there has to be a now). Truthfully, I don’t understand why his mandalas reflect this Trinitarian approach, but I don’t really need to… Maybe because I am have spent so much time with them (keep reading)…or maybe because they made me laugh and cry and sometimes both…I’ll get back to you on this, dear readers, after you look at a few.
There are more. Many, many more. After our initial meeting, Batuan asked me if I could shoot more of his works for a retrospective book that he would like to publish, so I did. I spent one of my last days in Bali shooting over 70 of his pieces with a student of his assisting me. A fun and stressful day that tested my limits of natural light fine-art photography. However, his “thank you” gift- a 1987 painting depicting his response to the overdevelopment of Bali’s beaches- will be a cherished part of my collection for years to come. Pictures when it is unwrapped.
A third, extremely prominent senior (or master, depending on who you ask) artist of Indonesia I. Nyoman Gunarsa (Gunarsa) had agreed to meet with me, but was hospitalized on the day our meeting was scheduled. I didn’t get word in time, so arrived at Gunarsa’s museum (which provided me with a clue to his eminence) escorted by Made Sumadiyasa and his family, but did not get a chance to meet the artist. Try this link for a google image search to get a good idea of his work.
A local blogger at Stranger in Paradisewrote of Gunarsa: “Gunarsa is now the Napoleon of modern Balinese art and museum—building; his wife a noble and ever-youthful Josephine. Over the past decade, Nyoman has survived a stroke, slander by Idanna Pucci in her new book and, the adoration of Claire Wolfowitz (the art-loving wife of super-hawk Paul). He has emerged as Bali’s most prominent artist. His museum, near his ancestral house on the outskirts of Klungkung, now occupies a huge 5 hectares with a three-storey museum full of classical Balinese art. There are expansive gardens, pavilions and ceremonial gates.”
I was particularly interested in his recent works from a book titled “Moksa,” which refers to “the final aim of life, the ultimate dream of a Hindu..the final union of his soul with Brahma.” It has been pointed out that Gunarsa survived a stroke and gave his next major series this title without changing his style or revealing anything particularly new. Hmmm. This may deserve another blog entry at some point, but basically, I wonder whether Gunarsa is toying with us, or if he has achieved liberation only to realize that it is only here and now? Here is a link to an announcement on the exhibition for the book, released in 2004.
Two other artists I would have liked to meet- I Wayan Sika and Made Wianta escaped me on this trip. They may, in fact, have been around Bali, but I didn’t find them. With the exception of the magnetic Made, the fierce Batuan, and the enigmatic Korney and his excellent cooks and somewhat not-so-excellent dog, a lot of Bali eluded me. Hopefully next time.
This work I've been doing on the museum project has put me back in steamy Bangkok mid-summer. Honestly, I am surprised by the fact that Bangkok, for all of its lore, is not that much hotter than Washington (or Chapel Hill, for that matter) in the summer. Rains almost every day…but not so hot. I return to the States on July 9 for a couple of months at least before proceeding to India. Looking forward to seeing my many friends and those who have sent well-wishes.
Thanks for reading! This was a long one. :- )
In my last post, I announced that Fine Art Magazine of Thailand had requested three articles outlining what I had found in my research so far. In the end, it will be one long article appearing in the August 2006 issue. Writing this—perhaps I’d call it premature digestion—felt like two months, but in fact it was finished inside of three weeks and is now in the hands of the publisher. I’ve posted an advanced copy of the article here.
Have I been idle? No, definitely not. I’ve been from Chiang Mai to Bangkok, back to Koh Phangan, to Singapore, Jakarta and Bali, Indonesia, and now am back in Bangkok. Perhaps travel fatigue could be an excuse, but this is also not really the case. Lack of convenient internet access and full-on cultural disorientation in Indonesia are the excuses I’m sticking to. Delays have been aggravated by a nasty burn on my ankle from a motorbike tailpipe, lots of uncertainty about where I would be next, and work on the next phase of this website, which will include a searchable database of artists, are also part of the story.
In the course of this time I have met two great artists in Bali, shot a book for one, learned a new country, and spent the last few weeks of my trip working with Michael Messner on developing the concept and presentation for a new art museum project in Bangkok- a great opportunity, as Michael and his father Artist Ernst Fuchs are extremely involved in the world of Phantastic and Spiritual Art in Europe and Asia.
But back to the travels…While working on the article for Fine Art, I traveled to Indonesia on May 15 and spent four days in Jakarta before continuing on to Ubud, Bali. Bali is Indonesia’s most popular tourism destination, a land of beautiful beaches, mountains, and highland lakes. Unlike the rest of Muslim Indonesia, Bali is predominantly Hindu, and the island is so steeped in ritual- dance, music, festivals, etc.—that it is undoubtedly a very spiritual place. From the spirit houses that grace every
family compound and public space to the daily offerings to the spirits made by households and businesses, to the frequent temple rituals including elaborate cremations, Balinese culture is steeped in its spiritualism. Here’s a picture of a temple dance ceremony I attended with one of the artists. I was happy to be the only tourist at this celebration, whereas others I attended were either designed for but empty of tourists or packed with them.I chose to explore Bali at the urging of many artists I had met along the way who reported that among Southeast Asian places, Ubud Bali is one of the most important. On arriving in Ubud, it was clear that the place lived and breathed art. While I have many good things to say about Ubud, I had to admit that the art scene surprised me: as dense as it was, there were really very few serious fine artists making original contemporary artworks concerned with or inspired by spiritual themes. Bali’s island culture is steeped in art and craft, to be sure, and the handicrafts and carvings, for example, are second-to-none. Yet, with a few very notable exceptions, what I found in Bali was an art-culture obsessed with its own Balinese-ness: dozens if not hundreds of artists painting about Bali, and dozens more doing copies (or not very original originals) of contemporary, abstract works. Not everybody agrees: here’s an article that gives you a run-down of the scene there perhaps a bit out of date, but still illuminates the landscape.
The bright spots, however, were very bright. In my three weeks in Bali, I was able to connect with two very interesting artists, I. Madé Sumadiyasa (Madé), a leader of the younger generation of abstract (or semi-abstract) artists whose large-scale work is recognized around Asia as being truly inspired, and Dewa Nyoman Batuan. I have to thank Korney Choy of the Bamboo Gallery LINK for helping me navigate it a bit, and introducing me to Made as well as noted Malaysian artist Chang Fee Ming and for hosting me for dinner not once but three times. I will also publish another article in Fine Art about a third artist who Korney works with- J. Philippe Hauer whose recent exhibition in Jakarta was an important debut of a new style of permanent expatriate artist in Bali…more on this later.
I arrived to Bali soon after the Quest for Global Healing II conference, a project of the Institute for Notetic Sciences, an organization dedicated to “exploring the frontiers of consciousness.” (think “What the Bleep do We Know?”) founded by Apollo 14 Astronaut Edgar Mitchell.
The Institute had brought together including Bishop Desmond Tutu and two other Nobel Laureates, and a lot of media-friendly consciousness types. It was a big event for Bali, whose tourism industry has been suppressed since the 2002 and 2005 bombings. I mention this because I first saw Madé’s work in the catalog for his solo exhibition titled “One World, One Heart” from the first Quest for Global Healing conference in 2004, and was impressed by his work, though not sure exactly why.
As soon as I saw his works in person, it was clear—there is, as you might say—a lot of “juice” (choose your synonym: shakti,
prajna, chi, qi, current, life force) running through this painter and onto the canvas. Made is probably the most successful of his generation in Bali, and his grand-scale semi-abstract works are nothing short of overpowering at times in its depictions of dark/light, motion towards oblivion and salvation, etc. Although he and his gallery both insist that he should not be pidgeonholed into the category of “spiritual art,” they admit that his work attracts those recognized as spiritually connected and powerful. Made was chosen as (perhaps ‘elevated to’ would be more apt) the Artist in Residence for the Global Healing Conference, Bishop Tutu apparently stood in awe in front of the work that graced the conference poster.
Here are a couple of samples of his work. Just imagine these at about 3x2 meters- that’s over 9x6 feet—and you’ll get an idea of how impactful the work can be. These are This Blessed Land (2004) and Heart of Mind, Heart of Body (2003)
Is it spiritual? Well- it would be hard to deny that the idea of coming together in peace—One World, One Heart—rings some bells. I think there’s more to it, though. Made seems to channel something pretty powerful. Back in 1996, the Jakarta Post (Jakarta’s English language newspaper) ran an on his work around the time that, at age 24, he was shown at the Art in Asia exhibit in Hong Kong—Made’s premier on the international stage.
“The Balinese community, which in general still believes in mystic forces, is steeped in arts expressed by, among other things, irrational ways. What is referred to as the soul, the spirit, vibration in modern artists vocabulary, is called taksu in Balinese. Although not all agree, the composition of forms, the etching and brushing of colors by Made Sumadiyasa radiate vibration…
“An attractive empiric experience on vibration is perhaps found in Made Sumadiyasa’s painting entitled Sandhi Kala (Transition from dusk to evening) dating from 1994 and belonging to an unnamed collector. The owner admitted to having strange dreams and when he consulted a medicine man [sic] The latter said to return the painting to the painter’s house. It was said that after the collector did so, he could sleep soundly…
“Made Sumadiyasa says he does not intentionally express paranormal vibrations in his works. He is a vegetarian and practices yoga diligently. Pande Wayan Suteja Neka, the sponsor for Made’s participation in the Art Asia Hong Kong confirms that Made’s works are much sought after.”
Here are two pictures of Madé at the ARMA (Agung Rai Museum of Art) , where the conference is held.
I also met I. Dewa Nyoman Batuan (Batuan), an elder of the Ubud art scene and artist community whose zany mandalas reflect his unique approach and dedication to traditional Balinese spiritual practice. Batuan is the founder of the Pengosekan
Community of Artists, which, in the 1960s and 1970s, was a hotbed of training for young artists and craftspeople in the area in painting and basket-weaving, principally. This was before university art studies were widely accessible to Balinese youth…and before most artists in Bali were earning a living wage. So, believing in the power of collaboration, this teacher—who could not feed his family—moved to Pengosekan village in the south of Ubud and began a mutual support and teaching community for artists. They developed a characteristic floral style that is today known as the Pengosekan style, but Batuan—a very spiritual man whose English fluency is outdone only by his passion and prolific production of artworks—had another mission in mind.I’m not sure that I can do justice to the teachings that Batuan layed on me—about oneness, about love, about the essential unity of all religions and spiritual traditions, and about the “rule of threes” (there is a before, there is an after, so there has to be a now). Truthfully, I don’t understand why his mandalas reflect this Trinitarian approach, but I don’t really need to… Maybe because I am have spent so much time with them (keep reading)…or maybe because they made me laugh and cry and sometimes both…I’ll get back to you on this, dear readers, after you look at a few.
There are more. Many, many more. After our initial meeting, Batuan asked me if I could shoot more of his works for a retrospective book that he would like to publish, so I did. I spent one of my last days in Bali shooting over 70 of his pieces with a student of his assisting me. A fun and stressful day that tested my limits of natural light fine-art photography. However, his “thank you” gift- a 1987 painting depicting his response to the overdevelopment of Bali’s beaches- will be a cherished part of my collection for years to come. Pictures when it is unwrapped.
A third, extremely prominent senior (or master, depending on who you ask) artist of Indonesia I. Nyoman Gunarsa (Gunarsa) had agreed to meet with me, but was hospitalized on the day our meeting was scheduled. I didn’t get word in time, so arrived at Gunarsa’s museum (which provided me with a clue to his eminence) escorted by Made Sumadiyasa and his family, but did not get a chance to meet the artist. Try this link for a google image search to get a good idea of his work.
A local blogger at Stranger in Paradisewrote of Gunarsa: “Gunarsa is now the Napoleon of modern Balinese art and museum—building; his wife a noble and ever-youthful Josephine. Over the past decade, Nyoman has survived a stroke, slander by Idanna Pucci in her new book and, the adoration of Claire Wolfowitz (the art-loving wife of super-hawk Paul). He has emerged as Bali’s most prominent artist. His museum, near his ancestral house on the outskirts of Klungkung, now occupies a huge 5 hectares with a three-storey museum full of classical Balinese art. There are expansive gardens, pavilions and ceremonial gates.”
I was particularly interested in his recent works from a book titled “Moksa,” which refers to “the final aim of life, the ultimate dream of a Hindu..the final union of his soul with Brahma.” It has been pointed out that Gunarsa survived a stroke and gave his next major series this title without changing his style or revealing anything particularly new. Hmmm. This may deserve another blog entry at some point, but basically, I wonder whether Gunarsa is toying with us, or if he has achieved liberation only to realize that it is only here and now? Here is a link to an announcement on the exhibition for the book, released in 2004.
Two other artists I would have liked to meet- I Wayan Sika and Made Wianta escaped me on this trip. They may, in fact, have been around Bali, but I didn’t find them. With the exception of the magnetic Made, the fierce Batuan, and the enigmatic Korney and his excellent cooks and somewhat not-so-excellent dog, a lot of Bali eluded me. Hopefully next time.
This work I've been doing on the museum project has put me back in steamy Bangkok mid-summer. Honestly, I am surprised by the fact that Bangkok, for all of its lore, is not that much hotter than Washington (or Chapel Hill, for that matter) in the summer. Rains almost every day…but not so hot. I return to the States on July 9 for a couple of months at least before proceeding to India. Looking forward to seeing my many friends and those who have sent well-wishes.
Thanks for reading! This was a long one. :- )
