Page 9 - Inner Gazing

various brands covering Balinese faces. In this period Suja still elements of sound and movement, enveloped in a mystical
dealt intensely with issues of identity, the interaction between nuance in the frame of spirituality. The sound aspect translates
Balinese traditional culture and “modern” culture. In short, Suja in color, because in color it captures bright and dark tones; the
seemed to be interested in bringing about a collision—a clash contrast of harmony is a form of further appreciation of sound.
between two different things. In this exhibition Suja presents Movement translates into expressive and rhythmic lines. The
work that shows the development of ideas from previous work. mystical aspect he presents in color choices which, according to
In this series of work, Suja focuses on ecological issues facing his own terms, tend to be nuanced in “Antara” (Between). “Antara”
Bali, especially on the problem of plastic waste. Suja says that for Bonuz is his translation of time, sandikala, the time between
he felt anxiety as an artist about the problem of plastic waste, light and dark, evening becoming night. It is there, according to
enough to disturb him to speak out in response to it. Suja, who Bonuz, that he finds the peak moment of the magical.
believes that a work of art has not only artistic aspects but also
aspects of the message in it, eventually developed or shifted Basic questions about what painting is—and seeing the
the perspective in interpreting the presence of plastic objects development of the world of contemporary art, which tends to
in his work. At first it was a cultural marker; now it becomes a emphasize conceptual aspects and celebrate technological and
threat. Some of the latest works also show shifts and changes media innovations, especially when comparing international
of medium. Where formerly he painted intensely with the contemporary art with the development of contemporary
medium of oil paint, in the works that he displays nows, he uses art in Indonesia, especially Bali—moved the artist I Wayan
acrylic medium. The transfer of this medium also influences Januariawan (“Donal”) to investigate the view of the academic
the techniques used by Suja. Techniques, of course, affect the tradition as the basis of painting. He wanted to re-examine and
visual appearance. According to Suja, since changing to acrylic live the “tradition” of painting in the development of modern art
medium, he now presents a more expressive sweep in his works. through the method of painting on the spot. He returns to nature,
tries to appreciate and permeate the phenomenon of form where
Putu (“Bonuz”) Sudiana explores the path of abstract painting. aspects of light play a vital role in the absorption of objects by
In presenting his works, Bonuz seems to be strongly influenced the eye and then transferred to the canvas plane. The selection
by the condition of his “self” and the surrounding environment. of objects painted by Donal on the spot is itself also an object
Abstract painting, which places the most essential elements in the environment that is familiar in his daily life as a Balinese.
in the form itself, is indeed very close to the artist’s personal So what appears visibly in Donal’s works is painting landscapes,
and inner expression, expressing language that tends to be painting trees or parts of certain plants that are painted close-
formalistic. But if examined further, the matter of formalism in up, or a collection of natural objects. So is what is painted and
abstract art is not so simple. There are layers upon layers of presented by Donal in his works as simple as merely moving
meaning that can develop within it. The inspiration of artists objects from nature to the canvas? It turns out that his creative
about what is being done can actually be one way to see, read, process is more complicated. There are layers of meaning that
and feel abstract painting. Bonuz, who in his daily life is both we can explore further. His post-graduate experience in cultural
an artist and a temple priest, is very close to various religious studies after his ISI Denpasar painting studies influences Donal’s
activities in the Balinese Hindu tradition. He is accustomed to perspective in looking at and interpreting his art. Included is the
the activities of reciting mantra, ringing the ritual bell, intimate choice of painting on the spot objects or events that exist in the
with various symbols and ritual activities in Bali. This is very surrounding environment and Bali in general. Every region, every
influential in his creative process. Besides that, Bonuz’s interest human being lives in a certain cultural scope with a different
in sound is also an important point in the process of creating his perception in looking at objects. This is very much influenced by
works. This is what Bonuz tried to settle in his consciousness cultural and geographical aspects. As an example, Donal cites
and also consciously display as a starting point in presenting his the coconut tree, which for the people of Bali is a very important
abstract work in this exhibition. He indicates this in the Mystical plant, because the function of each part of this plant is closely
Rhythm series, where Bonuz presents his idea in perceiving related to the daily life and ritual culture of the Balinese

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