Solo Show “Sri Serie” by Agung Kurniawan’s
January 2, 2025
Nyoman Darmawan’s Paintings; A Wanderer’s Imaginative Journey Across the Universe
Curated by Made Susanta & Co-curated by Savitri Sastrawan
Exhibition
Liku, Laku – Cosmic Pavement
Artist
Nyoman Darmawan
Written by
Made Susanta
Nyoman Darmawan’s Paintings; A Wanderer’s Imaginative Journey Across the Universe
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This marks yet another collaboration between Nyoman Darmawan and myself in an exhibition space. Over two decades ago, I began my journey by familiarizing myself with his artwork rather than getting to know him personally. This was during the mid-2000s, when I was still a student at Undiksha Singaraja. I had several opportunities to observe Nyoman showcasing his art alongside fellow contemporary artists from ISI Denpasar. At the time, most of his works extensively explored realistic tendencies, delving into various icons within pop culture. It’s a tendency that was common amongst young Indonesian, including Balinese, artists especially during and after the boom of contemporary Indonesian art around the year 2008.
Through a series of encounters in the exhibition space and subsequent discussions, we formed a bond of friendship. It was in 2013—a time when I began to delve into the world of art curation and writing in the 2010s—that I was asked by Nyoman Darmawan to curate a duo exhibition with fellow artist Made Karyana from Batuan, entitled “Habit” at Hitam Putih Art Space. This alternative art space, overseen by artist Gusti Putu Buda, is located in Sangeh. In this particular exhibit, I observed that Nyoman had abandoned the realistic painting technique that he had during his academic years. No longer resembling his earlier pieces, his work now embraced the techniques taught to him by his family and village environment, Pengosekan.
I observed a similar shift in Made Karyana, Nyoman’s partner in the duet exhibition. As a curator, I proposed “Habit” as a curatorial framework to encapsulate the artists’ shared tendency to work from their respective painting traditions. Nyoman brought the influence of Pengosekan style, while Karyana drew on Batuan style.
During the studio visit and curatorial research process for his exhibition, I had the opportunity to explore stories from Nyoman Darmawan’s childhood as a native of Pengosekan, where he grew up surrounded by painting activities. Nyoman discussed the intricacies of painting techniques, historical backgrounds, and the artistic development he observed in Pengosekan – knowledge he garnered both from his familial upbringing and local painters in his community. Inspired by what he discovered within the dynamic painting activities in Pengosekan, he became increasingly committed to re-immersing himself in the practice, with the goal of developing personal works based on his environment. Nyoman recognized that, within the communal context of Pengosekan, there was room for the emergence of individuality in artistic works. Reflecting upon his Pengosekan predecessors, such as Dewa Mokoh, Dewa Batuan, and other artists, he noted their ability to showcase distinct visual characteristics and personalized styles, despite their roots in the communal painting tradition of Pengosekan. “Therefore, ever since that defining moment, Nyoman’s determination set him forth on a path where he spread his visionary ideas across the expanse of his imagination’s universe. All the while, he was utilizing a visual language deeply rooted in the tradition of Pengosekan painting.
Now, in his first solo exhibition at Nonfrasa titled “Liku, Laku – Cosmic Pavement of Nyoman Darmawan” at Nonfrasa Gallery, it acts as a momentous presentation of Nyoman’s creative journey. This exhibition showcases his artistic achievements that originate from the Pengosekan painting technique and various personal ideas that form the theme in each of his works. What he presents, both artistically and thematically, seemingly can’t be fully understood if we solely rely on reading models established on unyielding modernist aesthetics.
Thus, an aesthetic approach model is needed that is more fluid and compound, involving sociocultural aspects from where and how an artist grows, and presents their work. This is because the democratization within global society is now striving to dismantle the dominations and power of knowledge from a single cultural entity, ideology, gender, and other barriers. The diverse voices from various entities that possess diverse historical and cultural contexts within our shared world now equally have the same opportunity to emerge, engage in dialogue, and proclaim their existence without dominating each other. In the context of this exhibition, Savitri Sastrawan, as one of the curatorial team members, suggests a reading model in her curatorial writing using the ‘polycentric aesthetics’ theory. This suggested model is deemed as a surgical tool capable of observing and positioning Nyoman’s work and creativity more clearly.
What I aim to communicate in this writing is an endeavor to provide a closer view or ‘zoom in’ on the concept of ‘polycentric aesthetics’ proposed by Savitri in her writings, examining its context in Nyoman’s artistic work and concepts. This curatorial will attempt to assess the historical background influencing Nyoman’s creative process, serving as the subject of his work. This examination will involve the historical aspects of Pengosekan painting, the concepts forming the theme in Nyoman’s work, and what artistic achievements and offerings Nyoman presents in his current solo exhibition.
Nyoman Darmawan in Pengosekan’s Artistic Genealogy
Nyoman Darmawan was born into a family deeply engaged in painting activities in Pengosekan. His father, I Ketut Gelgel, and his mother, Ni Made Pastini, come from a longstanding tradition of painting. The painting legacy in the Darmawan family began with Nyoman’s grandfather, I Wayan Gedot. Notably, I Wayan Gedot was one of the Pita Maha generation painters, alongside Gusti Kobot and Gusti Baret, in Pengosekan. His name is etched in history as one of the artist who participated in several exhibitions organized by the Dutch between the 1930s-1940s in multiple locations, one of which was the Batavia Kunstkring in 19462.
Ni Made Pastini, Nyoman Darmawan’s mother, is a daughter of Gedot who inherited her father’s painting knowledge. Pastini was once involved with the Balinese women artists’ community called Seniwati, particularly during its early establishment in the beginning of the 1990s3. Meanwhile, Meanwhile, I Ketut Gelgel, Nyoman Darmawan’s father, was a student of I Wayan Gedot and later joined the family by marrying Pastini in a nyentana4. It was through this absorption in the family’s artistic knowledge and techniques in the family and the greater Pengosekan area, that Nyoman Darmawan grew and contributed to his work, lelaku (practice), and his artistic vision today.
The fluid and integrated nature of Darmawan’s education amidst his everyday life has had a significant impact on his emergence as an artist. This phenomenon also manifests in the creative process of Balinese artists across generations, who choose to forge unique identities while grounding themselves in the visual language inherited either through their familial lineage or acquired through apprenticeship with pioneering artists within their local community. This tradition-based educational system, contrasting from modern academic institutions with their set curriculums, thrives outside formal structures. Such is also the case in Pengosekan, one of the villages renowned for its painting tradition that has given birth to several artistic generations.
The system of knowledge inheritance, which traditionally guides the pattern of art education in Pengosekan, is also predominantly in many villages across Bali possessing strong painting or art traditions in general. This model of education can be discerned in two patterns based on social interaction and space among its practitioners. The first pattern, as exemplified by Nyoman Darmawan, involves learning spaces formed through familial and kinship ties. Such learning transpires from parent to child, and so forth.
The family acts as the primary school—a foundational social structure for an individual to absorb knowledge. This concept aligns with the ‘catur guru5’ philosophy in Balinese Hinduism, which designates parents as ‘guru rupaka6’. Parents are tasked with not only biological reproduction but also the role of caring for and educating their offspring. This involves passing down values, ways of life, and family knowledge. In Balinese society, the family heritage called ‘tetamian’ isn’t confined to just tangible inheritance like physical or material possessions. It also expands to encompass intangible inheritance relating to values, knowledge, survival tactics, and social responsibilities or ‘ngayah’.
Artistic knowledge is also considered part of the family heritage when a lineage possesses artistic traditions. The heir’s responsibility is to continue, develop, and honor this inheritance as a way to pay homage to the ‘guru rupaka’ or parents while simultaneously utilizing it as a means of survival. Poetically, the value and knowledge employed for self-preservation—referred to as ‘gunan awak’ or life provisions—are captured by Balinese poet Ida Pedanda Sidemen in ‘Geguritan Salampah Laku’: “Tong ngelah karang sawah, karang awake tandurin,” which means if one does not possess land for rice fields, they should nurture and cultivate the resources within themselves.
The second pattern encompasses education that transpires beyond familial boundaries. In Bali, this concept is referred to as ‘meguru’, or called ‘aguron guron’ or ‘maguru sisya’ in the terms found in Balinese texts. This pattern is also recognized as ‘nyantrik’ in Javanese terminology that has been adopted into Indonesian diction. This approach connects to the traditional practice of apprenticeship within communal societies, where an individual known for their proficiency and knowledge in a particular field is visited by another who wishes to learn that knowledge, thus appointing the former as a teacher. This teacher-student interaction can take place within surrounding communities—defined in Balinese as ‘pisaga’—or among broader societal members. An example of this can be seen in Nyoman Darmawan’s father, I Ketut Gelgel, who initially approached I Wayan Gedot, Nyoman’s grandfather, to apprentice in painting, and eventually became Gedot’s son-in-law.
The learning systems within these two educational and knowledge inheritance patterns are fluid, with each family or artist serving as a teacher to students applying varied approaches. Nyoman Darmawan recounts how, during his childhood, before he began learning painting from his parents and grandfather, the preliminary task was to assist them with ‘nguyeg mangsi’, or the process of diluting solid Chinese ink by grinding. In addition to learning how to thin the ink, he was also taught how to create bamboo brushes and prepare canvases.
Once proficient in preparing tools and materials for painting, the learning process shifts to mastering techniques related to the stages of painting. This begins with ‘ngepah’, the process of composing objects within a pictorial plane. There are several types of ‘ngepah’, such as ‘ngepah karang’ or ‘ngedum karang’, which involve arranging objects within the plane and dividing the composition of objects accordingly. This is followed by creating rough sketches of various objects to be featured in the painting, such as ‘ngepah jelema’ for establishing human proportions and ‘ngepah don’ for arranging leaves and other natural elements. After ‘ngepah’, the process continues with ‘ngorten’, the creation of more detailed sketches building upon the previous stage. Next comes ‘nyawi’, where ink is applied to the ortenan or sketched results using an ‘iyip’ (ijuk) or bamboo pen. Following ‘nyawi’, the ‘nyelah’ stage involves establishing light and dark values using Chinese ink, where background objects are darkened and foreground objects are left brighter. The next step is ‘ngabur’, which adds volume or value to objects by creating light and dark effects using Chinese ink.
There are three methods of ‘ngabur’ based on techniques and tools used, namely ‘ngaud’, ‘ngeskes’, and ‘nyigar’. ‘Ngaud’ involves using two brushes: one for color and another for water. The first brush is dipped in Chinese ink and applied to parts of the painting, while the second brush is used to apply only water to the aforementioned areas, a process called ‘maid’, which aims to create a smooth gradient effect. Historically, brushes used in this process were made from horse or goat hair. ‘Ngeskes’ is the second ‘ngabur’ technique, using a dry brush and ‘dussel’ method with a single brush, typically a bamboo brush. The third variant, ‘nyigar’, is a technique for creating gradual, layered light-dark gradients or color from light to dark tones. In Kamasan painting tradition, this technique is called ‘ngampad’. After ‘ngabur’, the process continues with ‘nguap’, which involves applying a dominant base color to the entire pictorial plane, similar to the underpainting technique in European painting. This is followed by ‘ngewarna’, or adding colors to the painting, and the final stage called ‘nyenter’, where details and highlights are added using bright or white colors on specific parts of the painting7. In Kamasan painting tradition, this process equates to the term ‘mletik’.
All technical learning processes take place through the method of observing Nyoman Darmawan’s master, his parents, and his grandfather at work, followed by attempting to practice painting independently. Throughout this process, Nyoman’s grandfather and parents interweaved their knowledge, direct feedback, and critique while the practice of painting unfolded. This characterizes the learning process experienced by Nyoman Darmawan and other painters, whether they go through an inherited or ‘nyantrik’ learning system. The knowledge transfer to these individual painters does not necessarily result in the replication of their master’s artworks.
Over time, as their artistic awareness grows and is fostered by their intrinsic consciousness, painters develop their own ideas and thematic concepts in order to break free from their master’s visual style. From this, we can observe how the knowledge transfer process leads to artistic transformation by each individual artist. This transformation occurred in Nyoman, in part due to his academic consciousness gained from formal art studies at the ISI Denpasar and his exposure to Pengosekan painters who demonstrated a diverse range of unique individual styles, even while rooted in the traditional painting techniques and knowledge acquired from the established learning system in Pengosekan village.
The artistic transformation taking place in the village of Pengosekan, growing into one of the most flourishing locations for painting practices and knowledge, has unfolded over a long historical period from the 1930s to the present. This in turn, has given birth to the defining of all thriving painting activities in this village as the Pengosekan style or school. These various developments emerged from an internal consciousness, prompted by the social changes occurring in Pengosekan and Bali in general.
Art, as we understand, was initially not an autonomous expression. It was an integral part of Balinese society, heavily engaged in traditional and religious activities. Art was part of these rituals, appearing in the forms of rites and yantras, or supporting tools for these religious rituals. In this context, art also relates deeply to the textual aspects of traditions and religions developing within Balinese society. Texts such as the Mahabharata, Ramayana, and various texts associated with the philosophical, spiritual, and religious aspects of Hinduism are prolific in Balinese society and are reflected in artistic activities, including visual arts. Consequently, Balinese works of art illustrate narratives incorporating a process of interpretation of these texts and stories. Past to present Balinese art remains connected to common puppetry themes. This also occurs in Pengosekan, some of the works by painters active in the 1930s, such as Gusti Kobot, Gusti Baret, including Wayan Gedot (Nyoman Darmawan’s grandfather), and painters of that generation in Pengosekan, predominantly feature stories from puppetry. This period also marks a transition from the artistic transformation in Pengosekan painting and its surroundings.
The development of the Pita Maha organization, an arts institution formed through the interaction of Western painters like Rudolf Bonnet, Walter Spies, Balinese painters, and then ruler of Ubud, Tjokorda Sukawati, began to foster a new consciousness for Balinese artists, including those in Pengosekan. There emerged the realization that apart from the religious aspect, art also has dimensions related to other facets of religious life. An evolutionary change of consciousness began about the commodification of art. Works of visual art by these artists started to be celebrated not only in religious spaces but also in profane spaces. Numerous exhibitions were held from 1936 to the 1940s, not only in Bali but also outside of it. In addition, this period also saw the emergence of artistic transformation evident from the thematic changes in the works of Balinese artists, including Pengosekan artists, moving from puppetry themes towards everyday life themes. Puppet figures began to transition to human figures and everyday life, activity in the fields, activity in the market, traditional, and religious activity began to appear on the artists’ canvases.
In the subsequent developments post-independence, tourism in Bali and particularly Ubud flourished, with various supporting infrastructures for tourism starting to grow. Kiosks selling souvenirs for visiting tourists, as well as painted artworks and other fine art pieces, emerged. Art shops and galleries began to appear around Ubud, including Pengosekan, witnessing a massive expansion over three decades from the 1970s, 80s, and 90s. This increased the demand for art, especially paintings, as essential tourism commodities.
Not only were foreigners visiting Bali for tourism, but they were also seeking to develop businesses. This group recognized the thriving growth of painters in Pengosekan, with some foreigners commissioning specific types of paintings that could cater to the artistic needs for interiors, including themes such as flora and fauna or naturalistic styles, utilizing techniques previously developed within the Pengosekan community. It was this phenomenon that contributed to the widespread artistic transformation from works centered around puppetry and daily life to the massive growth of flora and fauna paintings from the 1980s to the 1990s8.
The social and economic transformation from agrarian to tourism in Pengosekan did not lead all painters to become consumed in the prevailing artistic trend. Emerging artists such as Dewa Mokoh and his brother Dewa Nyoman Batuan stood out with their distinct artistic characters, diverging from the then-dominant flora and fauna visual trend in Pengosekan. Dewa Mokoh came to light with artworks stemming from daily life, often playful and thought-provoking. Besides thematic innovation, Mokoh’s breakthroughs also appeared visually through less densely packed image fields, thin colors, and distinctive figures – yet continuing to employ the painting techniques fostered in Pengosekan. This led him to recognition as an artist with pioneering and individual characteristics within the field of visual arts.
Similarly, Dewa Batuan emerged with works exploring the mandala. The subsequent generation of painters also surfaced, including Dewa Putu Sena and Oototol. Notably among them is Murniasih, an artist who, while not originally from Pengosekan, carved out a distinct place for herself as a student of Dewa Mokoh.
What unfolded in Pengosekan, and in Bali more broadly, reflects a recurring pattern of artists artists nurturing individualistic characters. These characters emerge from the exploration and development of traditional artistic techniques within their respective communal spaces. Hardiman, a curator, academic, and Bali art critic, likens this phenomenon to the linguistic world. In linguistics, there are dialects or unique variations of a language within specific geocultural areas or societies. These dialects further give birth to idiolects, characteristics, or individual features of a specific speaker of the dialect9.
Drawing upon Hardiman’s analogy, the art evolving in Pengosekan could be seen as a visual dialect of the Balinese visual language. This visual language contains varied dialects— Kamasan visual dialect, Batuan visual dialect, Sanur visual dialect, Kerambitan visual dialect, Singaraja visual dialect, among others. And the emergence of individuals like Kobot, Mokoh, Dewa Batuan, Murni, through to Nyoman Darmawan, characterizes the unique visual idiolects of Pengosekan.
Nyoman Darmawan, Pengosekan-born in the mid-80s, began learning to paint as a child, bearing witness to various artistic transformations in Pengosekan. The memories of these social and artistic changes left indelible imprints, fostering a robust inner consciousness and conviction, further propelled by his induction into academic art education in 2002. Such intersections of experience, combined with newfound awareness, became a guiding force for him. In 2013, upon leaving university and after exploring numerous artistic possibilities presented during his academic journey, he decided to return to the roots that had always resided within him.
Darmawan thereafter returned to Pengosekan art, nurturing the visual vocabulary he had gained during his childhood. This language transformed into a visual medium used to articulate ideas and stimulate dialogues within the constellation of contemporary Balinese visual art. Today, Darmawan is among the emerging Balinese artists who, with internal consciousness, serve as speakers on various subjects, from social life to personal insecurities, using a visual expression rooted in the Balinese visual vocabulary.
Pondering over the Fragments – A Wanderer’s Imaginative Journey Across Nyoman Darmawan’s Artistic Universe.
At initial observation, many of Nyoman Darmawan’s paintings portray nuances strongly associated with sexuality, the body, elements of surrealism, and imaginative flair. They can be playful, mischievous, and occasionally hold a magical quality. However, not only is the sexuality, leading towards eroticism, exhibited in some of Nyoman’s works, we also encounter themes intimately connected with spirituality and underscored by socio-cultural dimensions. The majority of Nyoman’s art, especially those depicting sexuality, are not expressed in a fully nude form. Figures of men and women engaged in passionate encounters or conflict are not depicted nude – they are illustrated in traditional Balinese attire. Male figures with phalluses stretching skyward and into the cosmos or entwined around coconut trees, for instance, they are all visualized as peeping from behind the traditional garment, ‘kamen’. Similarly, when sketching women, Darmawan never depicts naked female bodies or banally illustrates female genitalia, even in works visually expressing intimate scenes between a man and a woman. – not even in works visually expressing intimate scenes between a man and a woman. This brings us to question – does Darmawan seek to infuse his paintings with an erotic undertone, or is the perceived eroticism merely metaphorical? Questions like these emerge in my mind when viewing several of Nyoman’s paintings, showcasing objects like a man with an elongated penis, a woman in traditional attire bearing offerings, or a skyward ladder leading to a boundless cosmos. To me, I perceive less of sensual or erotic nuances in this painting – I interpret it as a spiritual metaphors beautifully articulated by Darmawan – a viewpoint reflected in his other works as well.
Nyoman’s artwork consistently sparks curiosity, inviting viewers to immerse themselves, engage in conversations, and explore the various elements that emerge from his creations. Each piece skillfully narrates his experiences, ranging from events in his life to stories encountered in his social environment, and even his dreams. Reality and imagination intertwine beautifully in his works. Nyoman likens painting to a journey – a concept that is referenced as a prologue to this writing. Nyoman’s pieces, therefore, delve beyond sexuality and eroticism—it also unveil unveils expressions about human life travel, turbulence, desire, imagination, and ever-evolving thoughts.
A fundamental question I asked Nyoman was why he chose not to portray nude figures in scenes associated with sexuality and eroticism. His response revealed that these representations are merely allegorical – metaphors symbolizing the constantly shifting human thoughts and imagination. He states, “Who can truly know the deepest thoughts of someone when observing an object or scene? For instance, when observing the opposite sex fully clothed and even dressed for religious ceremonies, we can never fully understand or grasp what goes on within their minds. Our thoughts, or theirs, may be entirely contrary and unforeseen. The power of imaginative thinking can penetrate invisible barriers, challenging the status quo. Who would dare to guarantee that all our thoughts while praying in the temple are focused on God, on the religious? Perhaps some of us are thinking of very worldly matters,”10 Nyoman candidly responds to my inquiry.
I previously questioned Nyoman with more in-depth queries related to the seemingly explicit exploration of sexuality in his art, a topic often considered taboo or even considered exploitative of sex from a normative perspective. He explained that the sensual imagery and intimate interactions within his work are merely metaphors analogous to the passion and desire he experiences in the process of creation. They are representations of a universe, a world born from his imagination and his life experiences.
Nyoman admits that he does not delve deeply into the intricacies of sexuality theories from the realms of psychology, culture, or other contemporary theories. Instead, his starting point is his empirical experience. He draws analogies and finds inspiration from visual culture present within Bali. For instance, he questions why the Linga-Yoni, symbols potent with sexual implications, are predominantly and deeply ingrained in our culture, representing the concept of creation. Why do we revere genitals, and why do we worship sex? These, he argues, are symbols, metaphors for creation itself. Therefore, Nyoman’s artwork isn’t solely about sexuality, eroticism, fetishes, or overflowing sexual passion. Nor is it about exploiting sexuality or indulging in lasciviousness, as some critics might assume. Instead, his work illuminates the more significant context of his identity as an artist – his passion, ideas, and creativity. The themes within his work can vary widely, reflecting aspects of his personal life as an individual, head of household, father, and husband, as well as a member of society. Even his interests and hobbies, like his fondness for fishing or hunting animals in the wilderness, could serve as inspiration for his art.
Thus, what insights can Nyoman offer us as appreciators of his artwork? As he explains, the focus is not on the destination or the end of his journey, but rather on how he relishes the journey itself. When it comes to artistic creation, it’s about how he views the world and reality, and expresses these perceptions through his imagination laid upon his canvases. If we were to consider his artwork as entries in a diary, it is not merely their content and the stories within Nyoman Darmawan’s diary that captivate us. Instead, it is the way he paints and communicates these narratives that truly enthralls. Furthermore, isn’t art, like science and religion, serves as a means to observe the empirical reality experienced by humans. Through his work, Nyoman provides a unique lens to view and comprehend these experiences.
If we look at the way and how he presents his work, we will encounter various variants of techniques in Pengosekan painting that he mixes, develops, reduces and combines with the painting techniques he gets academically. The presence of his works with abur and cawi techniques, presenting ngeskes techniques with black and white Chinese ink media combined with academic painting techniques how to present a landscape or how to present cosmic in some of his works. Or how Nyoman reduces the dense composition in the tradition of painting in Pengosekan in the previous period to the presence of more spacious objects and spaces that are more compositionally free. Also from the narrative way of depiction to something more lyrical and poetic with the choice of composition, object placement and transparent colors.
Upon observing the manner and method through which Nyoman presents his artwork, we encounter a diverse range of techniques drawn from the Pengosekan painting style. He blends, develops, reduces, and integrates these techniques with those he he acquired in his academic ventures. His incorporation of abur and cawi techniques alongside ngeskes, using black and white Chinese ink, gracefully harmonizes with the academic painting expertise utilized in portraying landscapes and cosmic elements in some of his works.
Nyoman has also reduced the dominant dense composition in the traditional painting style of Pengosekan from earlier periods, subsequently transforming it into a presentation with more spacious object and compositional arrangements. In doing so, he moves away from a primarily narrative representation, resulting in a more lyrical and poetic rendition achieved through selective composition, strategic object placement, and the use of transparent colors. Through these approaches, Nyoman delivers a unique and intellectually engaging visual experience for the contemporary art gallery audience.
The aforementioned are the artistic and aesthetic offerings that we can grasp and perceive within Nyoman Darmawan’s creations. Nyoman, as an individual maneuvering at the intersection of preserving the communal artistic traditions of Pengosekan and a growing self-awareness, emerges as an active inheritor. He moves beyond merely replicating these traditions and instead develops and refines them, employing them as a medium of personal expression. This encourages a dialogue with admirers, contributing to contemporary art discourse that celebrates the multiplicity of ideas absent of hegemony, dominance, and various divisions that fragment us in the global civilization.
Nyoman’s works are thus not only a homage to tradition but also an engaging exploration into individuality constructed through artistic expression. He situates his work within contemporary art discussions inviting us to reflect on issues of heritage, individuality, dominance, and divisions, challenging the rigidities of the current global paradigm. His unique position and approach enrich our understanding and appreciation of contemporary art while connecting us to the rich array of traditional Pengosekan painting.
