The most creative of Bali’s contemporary artists, keen to create their own individual “voice”, have developed their own style by returning to age-old symbols and representing them with a stroke of fresh aesthetic gloss.
One of Bali’s most dynamic young artists, Wayan Upadana, a well-known name on the national stage thanks to his sculpture work, only began to focus on exhibiting his 2-D works in recent years.
Upadana’s third solo exhibition, Home, which includes 14 paintings in acrylic on canvas and watercolors on paper, went on display on May 26 at the Ganesha Gallery in the Four Seasons Resort in Jimbaran.
“My sculptures require a lot of time. Care and attention is needed during planning and construction,” Upadana said.
“Painting, however, allows me to explore ideas spontaneously. Making sculptures is more controlled and restrictive; therefore, I really enjoy the smaller format.”
Born in Gianyar in 1983, Upadana is a graduate of the Indonesian Art Institute (ISI) in Yogyakarta, majoring in sculpture, and he often appears in some of the most prestigious group exhibitions held in Indonesia. A regular finalist in major recent art awards, Upadana’s name is often bounded about by art lovers, critics and collectors alike.
Having spent 10 years in Yogyakarta while studying at ISI, living outside the complexities of his traditions, Upadana became adept at self-observation and being critical of his Balinese Hindu culture. Becoming increasingly sensitive to the social, cultural and environmental changes confronting him and his island, Upadana’s works boast aesthetic quality as well as having something relevant to say.
“Home communicates from the two different spaces in my imagination, from the personal and emotional to the collective, combining social, cultural and environmental values,” he said.
“While home is the theme of exhibition, it is derived from the question ‘who am I?’.”
“The figures in these paintings are a meeting of modern culture with Balinese mythology. The topeng [mask], along with other traditional or philosophical symbols represent virtues of tradition while being positioned in a composition that identifies with the modern world.”
In Passion 2014, the Barong mask is juxtaposed with items from the contemporary consumer world and is complete with a body suited in a jacket. Yet, the barong’s eyes are studying these modern items while grinning with joy.
In The Wise Man and his Lucky Bird 2014, Upadana creates a parody of the wise talking spiritual guru. While The Devotee of the Material 2014 and Looking For Peace 2012 emphasizes obsession with material possessions.
Upadana’s images communicate with an array of emotions, being poignant and humorous, playful and contemplative. However, in Relax Time 2014, the subject — a male with a pig’s head, the pig a metaphor for the human greed — communicates from a place of power and arrogance.
Works such as The Devotee of the Material and Looking for Peace are more complex, whereby he attempts to obscure the meaning of each symbol by fusing them together. While Upadana is not out to denounce modern culture he accentuates that the preoccupation with the material world he is witnessing needs to be given much greater critical consideration.
Home continues until July 23 at the Ganesha Gallery, Four Seasons Resort, in Jimbaran.
One of Bali’s most dynamic young artists, Wayan Upadana, a well-known name on the national stage thanks to his sculpture work, only began to focus on exhibiting his 2-D works in recent years.
Upadana’s third solo exhibition, Home, which includes 14 paintings in acrylic on canvas and watercolors on paper, went on display on May 26 at the Ganesha Gallery in the Four Seasons Resort in Jimbaran.
“My sculptures require a lot of time. Care and attention is needed during planning and construction,” Upadana said.
“Painting, however, allows me to explore ideas spontaneously. Making sculptures is more controlled and restrictive; therefore, I really enjoy the smaller format.”
Born in Gianyar in 1983, Upadana is a graduate of the Indonesian Art Institute (ISI) in Yogyakarta, majoring in sculpture, and he often appears in some of the most prestigious group exhibitions held in Indonesia. A regular finalist in major recent art awards, Upadana’s name is often bounded about by art lovers, critics and collectors alike.
Having spent 10 years in Yogyakarta while studying at ISI, living outside the complexities of his traditions, Upadana became adept at self-observation and being critical of his Balinese Hindu culture. Becoming increasingly sensitive to the social, cultural and environmental changes confronting him and his island, Upadana’s works boast aesthetic quality as well as having something relevant to say.
“Home communicates from the two different spaces in my imagination, from the personal and emotional to the collective, combining social, cultural and environmental values,” he said.
“While home is the theme of exhibition, it is derived from the question ‘who am I?’.”
“The figures in these paintings are a meeting of modern culture with Balinese mythology. The topeng [mask], along with other traditional or philosophical symbols represent virtues of tradition while being positioned in a composition that identifies with the modern world.”
In Passion 2014, the Barong mask is juxtaposed with items from the contemporary consumer world and is complete with a body suited in a jacket. Yet, the barong’s eyes are studying these modern items while grinning with joy.
In The Wise Man and his Lucky Bird 2014, Upadana creates a parody of the wise talking spiritual guru. While The Devotee of the Material 2014 and Looking For Peace 2012 emphasizes obsession with material possessions.
Upadana’s images communicate with an array of emotions, being poignant and humorous, playful and contemplative. However, in Relax Time 2014, the subject — a male with a pig’s head, the pig a metaphor for the human greed — communicates from a place of power and arrogance.
Works such as The Devotee of the Material and Looking for Peace are more complex, whereby he attempts to obscure the meaning of each symbol by fusing them together. While Upadana is not out to denounce modern culture he accentuates that the preoccupation with the material world he is witnessing needs to be given much greater critical consideration.
Home continues until July 23 at the Ganesha Gallery, Four Seasons Resort, in Jimbaran.
