Page 31 - Inner Gazing

perspective about the presence of plastic objects in his work from
cultural marker into a “threat.” His latest work also shows shifts of
medium. Whereas previously he painted intensely with the medium
of oil paint, the works that he displays now use acrylic medium. This
change of medium also influences his techniques, and techniques
of course affect the visual appearance. According to Suja, since his
conversion to acrylic, his work is more expressive in its strokes, now
finding a freer playing space.

In general, the concepts and ideas of Suja’s work are the tendency
to play in the area of intertextuality. He tries to present two things
(texts)—in fine art, of course, the text in question is visual opposites
that collide simultaneously in one area of the image. In his creative
process, Suja always begins with the exploration of ideas. Suja
will explore all possibilities in advance, including considering the
choice of objects as reinforcement of the narrative that he wants
to present. In each of the works, Suja says, he is trying to bring the
power of “disturbing” the viewer. For him, every work must have a
message that can arouse the awareness of the viewer of social and
environmental conditions now sweeping Bali. He sees the work as
a form of beauty that contains content and messages beyond the
issue of beauty itself. In short, Suja as an artist who always tries
to see and express what is happening with Bali today, based on his
choice of viewpoint in seeing the problem as a language revealed in
his work, in the hope of bringing a stirring power to the viewer.

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