Balinese painters breaking the shackles of tradition

Balinese painters breaking the shackles of tradition

By Putu Wirata

DENPASAR, Bali (JP): An increasing number of Balinese painters
are breaking the shackles of tradition and moving into abstract
expressionism.

Eleven members of Sanggar Dewata Indonesia, who are holding an
exhibition at the Sika Art Gallery in Ubud until today, are known
as Sebelas Pelukis (Eleven Painters). They are Nyoman Sukari,
Made Sumadiyasa, Ida Bagus Krisna, Putu Sutawijaya, Kompyang
Setiawan, Ketut Taman, Teguh Ritma Iman, Made Wiradana, Made
Mahendra Mangku, Wayan Sunadi and Ketut Tenang.

Sanggar Dewata Indonesia is an organization of music students
from the Indonesian Arts Institute (ISI) in Yogyakarta and
graduates from Balinese universities. Most of them are followers
of "figurative" abstract expressionism, which they apply to
traditional themes and ideas. The 28 works on exhibit attest to
their style in the way they elevate traditional Balinese art
symbols, most of which are steeped in myth and philosophy.

Sukari's work, Bomber Setan (Evil Bomber, 80 cm x 100 cm),
features diabolic expressions. In Bali, evil is depicted in the
mystical faces of Rangda and Celuluk, wide-eyed creatures with
gaping mouths and huge teeth. But in Sukari's work, evil has been
reduced to the word "bomber" and its capacity for destruction.
Evil is moving about, popping up everywhere. It is able to
express itself in anger and hunts for prey.

The theme of evil is also demonstrated in Sumadiyasa's
creation, Leak dan Modernisasi (Leak and modernization, 122 cm x
170 cm). Sumadiyasa is still a student at ISI Yogyakarta. His
work features a demon mask on a paper backdrop coated with shades
of black, blue, white and red. Leak epitomizes the negative side
of human nature, which is also a characteristic of Rangda and
Celuluk.

Sumadiyasa presents a modern version of the topeng Rangda (the
mask of Rangda), his hair braided like footballer Ruud Gullit's
and his own. Carvers in Bali depict Rangda in a similar way, with
strands of hair falling parallel to an extended tongue and a face
complete with bulging eyes. It has long hands, toenails, and a
dangling pair of papaya-like breasts.

Mangku, Taman, Tenang and Iman all apply a "contemplative"
abstract style. In Mangku's work, Beban diantara kegelapan dan
kegelisahan (The burden between darkness and confusion), he
affixes a piece of paper that resembles a calendar of
calligraphic abstract art. The paper is centered on the canvas
amid harsh brushstrokes of yellow and brown. The upper and lower
ends of the work are shaded dark and he has drawn a line below,
which looks like something from a plough. Upon closer inspection,
the picture could be that of a human body supporting a funny
head, which could be interpreted as someone confused and with a
lot on his mind.

Tenang's work, Cakra Suci (Holy Cakra, 120 cm x 150 cm),
depicts a cakra with a white thread tied to a wooden stem. The
image is triangle shaped, vaguely formed with squares and a white
stroke, as if to emphasize the spirituality of the suspended
cakra.

Anatomy

In terms of human anatomy and kundalini (yogic expression),
the main cakra's location should be around the navel. Cakra
houses a secret and hidden power and is the gate to the human
spirit. It is an irrational metaphysical concept, but it becomes
rational for those who have undergone similar experiences and who
like to explore invisible forces.

A different style, dubbed Yogyakarta Surrealism, can be
observed in the works of Krisna. One of his works, Badai (Storm,
70 cm x 90 cm), shows Krisna working up a terrible storm, with
people, snails and other objects blowing in the wind. In Balinese
Hinduism, storms are not brought about scientifically or caused
by air pressures. They are caused by the deity Vayu, who controls
the wind, and by Indra, ruler of the rain, thunder and lightning.

Younger students of the abstract expressionist style often ask
if the older artists have been influenced by history and cultural
changes in Bali.

Dr. Jean Couteau, a social anthropologist and Sorbonne
graduate living in Bali for 20 years, says there is a difference
in the groundwork of American abstract expressionism and
expressionism as practiced by the members of Sanggar Dewata.

Abstract expressionist artists of the 1950s like Jackson
Pollock, Willem De Kooning and Franz Kline were refined rebels in
search of intrinsic logic through the use of body movement,
whereby their personalities appeared and then crumbled into
senselessness.

But the abstract expressionism of Sanggar Dewata, as well as
that of Sebelas Pelukis, is really an individual process. They
have rebelled against the norms and obstacles of traditional
aesthetics. They were not against developing and dealing with
cultural situations, but they also did not react to social
dilemmas in their environment.

They were pursuing freedom by challenging the collective
ownership of symbolic meanings, and reintroducing them in their
personal style. They did not expect to excel in abstraction;
freedom was all they wanted.

Have they achieved their aim? The answer from their work is
no. Balinese symbolism is here to stay, although perhaps polished
and dressed up in new apparel. Traditions remain near the
surface. Their brushstrokes fail to disclose any awareness of
things that may have taken place around them. No one is obliged
to illustrate social complexities, but it may be this that
differentiates this younger generation from their American
contemporaries.