Rarely in Bali does the observer have the opportunity to experience art of such a unique and “other worldly” quality as created Balinese contemporary artist Putu Wirantawan. The fundamental key to Balinese traditional art is drawing, for Wirantawan, however, it serves a different function to that of his artistic forefathers.
About 15 years ago Wirantawan (b.1972 Negara, Jembrana, West Bali) became overwhelmed by what he perceived as a block in his artistic development. Yet, unbeknown to him at the time, he was in the formative stages of creative innovation. Having learned to draw and paint in his youth, actively exhibiting since 1993, and a graduate in Fine Arts from the ISI Yogyakarta 2005, (Indonesian Art Institute), Wirantawan had already become competent in the mediums of oil and acrylic paint, along with water-color to produce figurative and abstract works. Wirantawan, however, had become bored with these genres and wished to break free.
Soulscape II, 2010 – Putu Wirantawan
His solution was to return to the basics of drawing. Wirantawan followed his intuitive urges and focused on spontaneous ideas that evolved into unexplainable sketches. He completed page after page in his sketch pad until eventually the idea blossomed, why not piece together some of these works into larger compositions.
Wirantawan’s process is determined by the flow of imaginative energy between his conscious and subconscious minds. The freedom and flexibility within his technique allows him to arrive at authentic compositions that he believes would be impossible to initially conceive – a powerful creative element had returned to his art along with seemingly endless possibilities to explore.
Working in pencil and ballpoint pen on paper, enhanced with a touch of color Wirantawan draws on the fundamentals of surrealism and abstract art. “Many of my ideas come from the simplest of objects or from observations of the atmospheric, such as the elements of sunlight, fire, water and smoke,” says Wirantawan. “The elements contain a magic that ignites my imagination and I then transform the shapes I see into something new.”
Tebaran Energi Sejati, 2008-2012, 9 panels, 2915 x 1260 cm – Putu Wirantawan
“Drawing is a flexible and spontaneous technic, it can be done wherever and whenever, and is not affected by the material drying quickly or still being wet. Drawing nurtures new spirit that enables me to feel free to explore my flowing ideas,” Wirantawan said. “Drawing is soul therapy for the mental burdens resulting from challenges in daily life.”
Often described as a visionary Balinese artist, Wirantawan’s works invite the observer into an abstract world of geometric structures that appear like futuristic cities, galactic landscapes and vast sanctums in the outer most reaches of the cosmos. While his work is truly contemporary and free of traditional Balinese aesthetics and the orthodox approach, there is a deep relationship to the Balinese Hindu philosophical universal view.
Initially, Wirantawan’s works appear almost cryptic and strange, yet they mysteriously radiate a warmth with an unexplainable fascination to the eye. The core structural content of his work is based on the principles of sacred geometry, in which arrangements of lines within harmonic proportions produce systems and symbols that resonate with the subconscious mind.
Gugusan Citra Batin, 1236011, 2011 – Putu Wirantawan
Wirantawan often utilizes the circle, which is nature’s perfect symbol, appearing like floating disks, planets and glowing orbs with auras radiating light. “Geometry is the essence and structure of all natural shapes on earth and in the solar system. All cycles of life and natural phenomena follow a repetitive circular order of birth, death and then rebirth,” he said.
The geometrical symbols Wirantawan uses are governed by a mathematical ratio known as the Golden Ratio, first devised by the ancient Greek mathematicians defining an invisible order that regulates the 3 dimensional proportions of the earth plane. These harmonic proportions were used in the design of sacred buildings in ancient and renaissance architecture to produce a spiritual energy that is believed to facilitate connectivity with a higher universal intelligence.
The coloration of Wirantawan’s works contains the most basic of all visual dualities – black and its interrelationship with the color white. The impact of color psychology, the advancing nature of the white upon black creates dramatic depth of field. Some imagery simply morphs from light to dark and flows in and out of discernible surrealistic forms.
Wirantawan has won a series of awards and honors, including nomination as one of the 10 best Indonesian artists in 2000 Philip Morris Art Awards, as well as being a finalist in the International Triennial “Print and Drawing” in Bangkok, Thailand 2008 and again in 2012.
Blissful Line, Wirantawan’s 2015 solo exhibition at the Tony Raka Art Gallery in Ubud, featured hundreds of his sketches on papers covering the gallery’s walls, the focal point of attraction, however, was his extraordinary, and new venture into installation. Gugusan Energi Alam Batin (the Configuration of the Natural Energy of the Soul), 606 x 246 x 312 cm. Within the context of contemporary Balinese art Wirantawan has developed a dynamic individual style, both beautiful and compelling, that clearly stands alone.
Gugusan Energi Alam Batin – Putu Wirantawan
Sketches by Putu Wirantawan
Words & Images: Richard Horstman
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