Ripple

Dialogue in the Flux of Artistic Creation Written by Putu Sridiniari

Exhibition
Ripples: Dialogue in the Flux of Artistic Creation

Written by
Putu Sridiniari

Dialogue in the Flux of Artistic Creation

In the pursuit of artistic creation, there is often a demand for immense productivity. However, the journey towards creation is frequently marked and punctuated by seemingly mundane experiences—such as walking along the beach, savouring a sunset, enjoying a favourite meal of nasi campur, listening to cherished music, or engaging in casual conversations with family. These moments, despite appearing unproductive, possess regenerative power for creativity, much like seeking and discovering the key to unlock an otherwise impenetrable door. Within these periods of contemplation and absorption, dulled sensitivities are sharpened, resulting in works of heightened acuity and appeal.

When “Ripple” was chosen as the exhibition title, the term—translated as
riak in Indonesian—was envisioned as the echo of an ever-evolving identity for each artist featured in this exhibition. This identity encompasses not only their roles as artists from various generations born and raised in Bali but also the processes of exchanging artistic and cultural values with the broader world. Artists such as Agung Ivan, Nyoman Sani, Kadek Armika, Wayan Suja, and Wayan Karja have experienced formal education in institutions; Gusti Agung Galuh learned by mentally recording scenes, observing techniques within her painting family, and visiting museums after moving to Ubud; while Oototol is an anomalous artist who took a solitary path, observing his surroundings in Pengosekan and finding a safe space for creation at Mondo and Murniasih’s house.

These examples illustrate the maturation that arises from internalisation, recording aesthetic decisions seen and experienced within Balinese traditional life. Art, in its role as devotion, requires observation, mental recording, and often becoming the creator in a repetitive cycle. In its normative role in society, a sculptor may become proficient in making offerings, or a painter may take on the role of a gamelan musician. Additionally, Bali’s status as a global tourism icon introduces the function of art as a market commodity. Many artists have observed family members creating paintings or sculptures for sale from a young age. However, as an artist grows, their encounters expand beyond the traditional and commercial functions of art, allowing for continual negotiation and consistent self-refinement in other ways.

In this exhibition, the concept of ‘ripple’ acts as a bridge, facilitating the understanding of a work and the various elements involved in its overall composition. In various dictionaries, ripple has a dual nature as both a noun and a verb. It signifies movement and is also the movement itself. It captures the essence of creation and its inherent power, both as a reactive form and as an initiating force. This perspective aligns with the role of elements within a work’s composition—engaging in dialogue, making connections, and forming  ongoing narratives in artistic creation, embodying dialogues in the flux of artistic creation.

This idea resonates with Deleuze and Guattari’s concept of the rhizome, which forms an underground network that continually creates new connections in different directions. Growth does not follow a singular path but spreads outward, overlapping and interacting with various elements in its environment. This “rhizomatic” power suggests that the process of artistic creation is not linear, but a complex network of influence, inspiration, and interaction, constantly evolving and shaping itself. Whether the influences are internal or external, the process is dynamic and multifaceted. The following analysis explores the dynamic content that can be observed in each of the works in the “Ripple” exhibition.

Placed in the centre of the exhibition space, Kadek Armika’s work serves as a welcoming piece for visitors. A series of bamboo frames and milky white paper form layers of sail. Curving and occupying the empty space without a concrete form, the bamboo frames resemble an extraterrestrial object. The paper covers small perforated boxes, some of which form complete layers. This arrangement casts shadows on the left wall of the room, creating a new world with the shadows of Agung Ivan’s horse, Temmoku.

Kadek Armika’s work occupies a space not filled by other works in the exhibition space. Its placement in the centre of the room, on top of a large circle on the floor, is suggestive of its anchorage to the surface of the earth.

Kadek Armika’s work is like a futuristic spaceship in comparison to Oototol’s work. The artist from Pengosekan, Ubud, who died in 2012, depicted kites in familiar Balinese shapes such as bats, fish, and birds. From left to right, this work depicts a boy, followed by kites and a group of policemen. The dark background creates a contrast that separates the objects on the canvas from a noisy, colourful world. Closer inspection reveals long creases in the canvas, caused by the artist sitting on the canvas while working. The lower left corner is inscribed ‘ooToToL PANGOSĒKAN BALI INDONESIA LUAR NEGERI’, or his nickname and address: Pengosekan, Bali, Indonesia, and Overseas—highlighting Oototol’s acute awareness of his identity and the larger contexts that shape it.

Temmoku is a dark brown horse standing alone, its head bowed in a pose suggesting weariness. Its body, composed of ceramic pieces, has a mechanical quality. Agung Ivan’s technique emphasises both the form and the simultaneous fragility and strength of the piece. Temmoku casts two shadows: a distorted one on the surface on which it stands, and a complete one on the wall. The second shadow, in particular, is compelling, with the heart area appearing hollow and empty.

 

The artworks are an exploration of an inner-external dialogue, a struggle between contemplation, creation and often intruding chaos. They do not emerge from a vacuum, but result from an ongoing exchange with the self, the surrounding environment and the artists’ lived experience. Each work demonstrates the dynamic interplay between inspiration, reflection and the ripples that cumulatively drive profound creative shifts.

Connection is a piece that captures a cluster of dots united on the canvas. These dots form denser areas at the edges and more open spaces in the centre. The subtle shadows of each dot add depth and dimension, creating a sense of movement. Connection blends emptiness and interaction, capturing the friction and movement between dense and quiet areas, emphasising that every element, no matter how small, plays a crucial role in the overall composition and visual quality. Nyoman Sani seems to connect us with the experience of a bird in flight and the view from above.

Imaji di Bawah Laut captures the distortion of various objects unrecognisable to the naked eye. A palette dominated by dark blues and greens with touches of red creates shifts that mimic the interaction of light and shadow underwater. This nuanced use of colour creates the mysterious character of the underwater world. Wayan Suja’s composition conveys a blurred impression, as if seen through a lens that distorts reality yet immerses us in an aquatic atmosphere. This painting raises questions about our responsibility for over-consumption and production.

Wayan Karja’s brushstrokes in Silence move vertically, with each stroke introducing and fading colours. Silence features vertical and repetitive brushstrokes with dominant yellow-green hues and subtle hints of magenta and dark green. The vertical strokes guide the eye and create an impression of movement. This vertical composition often refers to a deeper connection to the Creator or to a larger force in life, where repetition, like a ritual, draws us closer to life’s energy.

Agung Galuh depicts life’s repetitive nature through Menanam Padi. On the canvas’s left side, a woman in a pink-orange kebaya with a yellow sash and kamben stands among tall coconut trees, in front of a hut. Carrying something on her head, she appears to have done some rituals in the rice fields. The reflections in the paddies indicate early morning light. People are beginning their activities—a woman is pounding with a mortar, and two farmers with conical hats move rhythmically to plant rice seeds. These figures are bathed in the most light, reflecting Agung Galuh’s careful composition and colour choices. She not only represents the visible world but creates new life on the canvas, engaging in a dialogue with light and shadow.

The dialogue with light is also evident in Wayan Karja’s Cosmic Energy, where layers of reflective golden splashes are superimposed to create a massive explosion at the centre of the painting. The painting is divided into three segments: beginning, middle and end, with the central canvas flanked by others. While the surrounding red acts like a background, the central canvas with its active circle suggests life force. Cosmic Energy captures the immeasurable power and impact of the universe of creation, where there is no memory or time, only experience and space.

The elements within a work foster a regenerative dialogue that is continually renewed, even long after the artist’s creative struggle has ended. By the end of this exhibition, we have all become part of the ripples of creation.