I Made Sumadiyasa: Young, promising Balinese painter<\/p>\n
By Putu Wirata<\/p>\n
Young Balinese painter Made Sumadiyasa has received acclaim
\nboth at home and abroad for his works. This article relates the
\ngenesis of his paintings of the past few years.<\/p>\n
DENPASAR (JP): Two paintings exhibited at Art Asia Hong Kong
\nin November last year, Menari dengan Singa (Dancing with a Lion,
\n1994) and Jalan Pembebasan (Road to Freedom, 1994), received
\nextraordinary acclaim. The painter was I Made Sumadiyasa, 24, who
\nis still studying at Yogyakarta's School of Fine Arts and Design.<\/p>\n
\"After 30 years, at last I can now take pride in something
\nfrom Indonesia, that is, through art works by Made Sumadiyasa,\"
\nsaid Kornie, an American-born promoter who organized Made's
\nexhibition in Hong Kong. They carried the flag of the Neka Museum
\nin Ubud, the first Indonesian museum to participate in the Art
\nAsia Hong Kong exhibition.<\/p>\n
\"If you want to compete in technology, there are Germany and
\nJapan. Indonesia, however, can rise to prominence because of its
\nart works. I have chosen the works of Made because he is the
\nyoungest among many talented painters,\" said Kornie at the Neka
\nMuseum prior to his trip to Hong Kong.<\/p>\n
Collectors showed interest in Made's paintings when they were
\nexhibited at the Bambu Gallery owned by Wayan Suteja Neka. The
\nworks quickly fetched prices of between Rp 20 million and Rp 45
\nmillion (between US$8,602 and $17,204) a piece.<\/p>\n
Among the many strong Balinese painters with character, Made
\nSumadiyasa is the youngest. The abstract concept of his works
\nresembles the expression of the universe in Balinese culture. It
\nis not far different from that of his predecessors, including
\nNyoman Erawan, Jirna and Wayan Budiana. These painters have often
\nparticipated in prestigious events worldwide. Erawan's and
\nBudiana's works were exhibited in the Festival of Indonesia in
\nthe United States in 1990 to 1991 and the Indonesian Dutch
\nCultural Exhibition in 1993.<\/p>\n
\"Now it is Made Sumadiyasa's turn,\" said Kornie.<\/p>\n
Who is Made Sumadiyasa, the quiet young man with braided hair?<\/p>\n
Made was born in Lalang Linggah, Tabanan in 1971. His
\ngrandfather was a priest in a temple on a small hill just outside
\nhis village. His father followed in the footsteps of his
\ngrandfather. Like other Balinese children, Made was raised in an
\nenvironment full of rites and mystic beliefs. But, of course, his
\ncontact with rites is not as intense as that of his forefathers
\nbecause the modern social environment has given him more rational
\ninputs. Nonetheless, the spirit of an ancestral ritual culture
\nradiates from his works.<\/p>\n
Garrett Kam, an observer of Balinese fine arts and culture
\nliving in Bedahulu, Gianyar, sees those allusions in Sumadiyasa's
\nwork.<\/p>\n
In Menari dengan Singa, Kam wrote, Made's impressive strokes
\nremind the Balinese of the myth of an animal resembling a lion, a
\nprotective spirit in Bali. In Jalan Menuju Keabadian, Made shows
\nthe strength of inner emotions, the sediment of the ritual spirit
\nlong experienced. In this work, according to Kam, Sumadiyasa
\nsucceeded in attaining a deep visualization of the abstract
\nworld. The process of creation is colored by interruption, which
\nshows that the search for eternity is a hard struggle.<\/p>\n
Made, as Garrett Kam says, may not be aware of a traditional
\nundercurrent linked to the expression in his works. He admits
\nthat his works express a number of variations. His ideas, he
\nsays, come directly from events and objects in his environment,
\nsometimes from the mass media, including television, dialogs and
\npolemics. It is these outward experiences which have settled in
\nhim to later become personal expressions.<\/p>\n
His expression of the spiritual world of Balinese culture is
\nclearly seen in these works. The majority of these works are
\nstimulated by Balinese cultural art forms. This can be derived
\nfrom the titles of such works as Lemak Legong Keraton (1993),
\nMahabaratha (1993), Kucing Hutan (1994), Menari dengan Singa
\n(1994), Kemana Mereka Pergi (1994), Penari Baris (1993),
\nKesaktian Baris Gede, Ngerupuk (1994), Ngaben (1993), Nyala Api
\n(1995), Jalan Menuju Keabadian (1994), and Sandhi Kala (1994).<\/p>\n
The Balinese community, which in general still believes in
\nmystic forces, is steeped in arts expressed by, among other
\nthings, irrational ways. What is referred to as the soul, the
\nspirit, vibration in modern artists vocabulary, is called taksu
\nin Balinese. Although not all agree, the composition of forms,
\nthe etching and brushing of colors by Made Sumadiyasa radiate
\nvibration.<\/p>\n
In Jalan Menuju Keabadian, Made paints red, green, light
\nbrown, black, white, and marine blue in a story on a cremation in
\na Ngaben procession in Bali. According to Balinese Hindu belief,
\na cremation with all the supporting offerings of the ritual is
\nthe way to eternity in the hereafter. As there is no one able to
\ndescribe the hereafter from personal experience, except through
\nmeditations, myths and subconscious imaginations, people
\ngenerally fantasize about a darkness where the soul is liberated.
\nAnd, at the time of liberation, the soul leaves the coarse body
\n-- in the form of a red ray -- and goes into the skies.<\/p>\n
An attractive empiric experience on vibration is perhaps found
\nin Made Sumadiyasa's painting entitled Sandhi Kala (Transition
\nfrom dusk to evening) dating from 1994 and belonging to an
\nunnamed collector. The owner admitted to having strange dreams
\nand when he consulted a medicine man. The latter said to return
\nthe painting to the painter's house. It was said that after the
\ncollector did so, he could sleep soundly.<\/p>\n
Although Made Sumadiyasa says he is not aware and does not
\nunderstand the existence of magic forces in his works, in the
\nbelief of the Balinese Hindu community, Sandhi Kala is a critical
\nand dangerous transition time from twilight to evening. Usually,
\nat such moments, the Balinese present their offerings to Bhuta
\nKala (guardian of the evil world), who, according to mythology,
\nis given the power by the god Siwa to inflict disaster on people
\nwho have violated Sandhi Kala taboos. Some of the taboos are to
\npass streets, quiet places, village crossroads, or in front of
\nhaunted places during this time.<\/p>\n
Is the medicine man correct in saying that the Sandhi Kala
\npainting is the cause of strange dreams? No proof has been
\nestablished but in Balinese culture, various forms of the magic
\npower of paintings are known. Rajah (paintings with magical
\npowers) are used for Usadha (traditional therapy) or for Pengiwa
\n(black magic). And the painters are experts who have studied
\neverything on fine arts, or people who are naturally endowed with
\nparanormal abilities. With some study, using certain magic
\nformulae, their brush strokes can have magic power.<\/p>\n
Made Sumadiyasa says he does not intentionally express
\nparanormal vibrations in his works. He is a vegetarian and
\npractices yoga diligently. Pande Wayan Suteja Neka, the sponsor
\nfor Made's participation in the Art Asia Hong Kong, confirms that
\nMade's works are much sought after.<\/p>\n
\"In the beginning, we exhibited his works at the Neka Museum.
\nMany people like them and have started collecting them,\" he said.
\nAn estimated 45,000 visitors saw the works of artists from Asia,
\nEurope and America on exhibition in Hong Kong. \"This is purely
\nart, there is no trading,\" said Suteja Neka.<\/p>\n
Surprisingly, Made Sumadiyasa's works attracted the attention
\nof collectors. The prices paid are comparable to those for Made
\nWianta's works (up to Rp 100 million), Nyoman Gunarsa (up to Rp
\n40 million) or Arie Smit (up to Rp 76 million).<\/p>\n
The quiet and unpretentious Made is not a productive painter.
\nIn one month, he often does only one painting, or nothing at all.<\/p>\n
Made admits he paints according to his mood.<\/p>\n
\"Although I am not an idealist, I do not want to accept
\norders. In executing an order, even if I am allowed freedom, my
\nsoul would not be in the work,\" said Made.<\/p>",
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