Collection: Indonesia

I'd Like to Paint Still Life #3

Description: This painting is Pandu Wijaya’s love letter to the Dutch Golden-Age period. Through his still-life paintings, Pandu Wijaya brought back the glory and value of the still-life genre that was a popular genre among aristocrats back in the Dutch Golden-Age period. The reason as to why Pandu Wijaya chose this path of genre is because of his interest in classical works and classical era in which he learnt through documentary videos. Within this painting, Pandu Wijaya brought his own twist to the depiction, he does this by combining impressionist technicality with references to the still-life genre in the Dutch Golden-Age that usually focuses on classical realism. As for the creative process, he states that choosing the composition, colour saturation, highlights and value of each colour are his favourite techniques and each aspect requires a lot of consideration and skill, especially in determining the colour values and how that is an area he continues to explore. In his words, the intensity he wants to achieve in this painting is how to perceive a classic still-life painting from the Dutch Golden-Age through impressions, more expressive brush strokes, and more contrasting colours

I'd Like to Paint Still Life; Unfinished

Description: This painting is Pandu Wijaya’s love letter to the Dutch Golden-Age period. Through his still-life paintings, Pandu Wijaya brought back the glory and value of the still-life genre that was a popular genre among aristocrats back in the Dutch Golden-Age period. The reason as to why Pandu Wijaya chose this path of genre is because of his interest in classical works and classical era in which he learnt through documentary videos. Within this painting, Pandu Wijaya brought his own twist to the depiction, he does this by combining impressionist technicality with references to the still-life genre in the Dutch Golden-Age that usually focuses on classical realism. As for the creative process, he states that choosing the composition, colour saturation, highlights and value of each colour are his favourite techniques and each aspect requires a lot of consideration and skill, especially in determining the colour values and how that is an area he continues to explore. In his words, the intensity he wants to achieve in this painting is how to perceive a classic still-life painting from the Dutch Golden-Age through impressions, more expressive brush strokes, and more contrasting colours

High Cliff

Description: En plein air painting of a cliff of Srihaji during hot weather

Rivers and Hills

Description: En plein air painting of Srihaji's river view during the day

Ricefield

Description: En plein air painting of Timbulharjo during the day

Mepeed

Description: Ade Nova sends a message of gratitude to the God Almighty through this painting of Meeped. Mepeed is one of Balinese traditions where the Hindus sent their gratitude to Sang Hyang Widhi Wasa (God Almighty).

Panen Raya

Description:

Through this painting Ade Nova depicts the golden moment of the Grand Harvest (Panen Raya) in Bali. The Grand Harvest as described by Ade Nova is a joyful moment of celebration as well as gratitude- where local farmers can harvest their long awaited yields. Being a part of this harvest, Ade Nova sends a message of gratitude through this painting to Sang Hyang Widhi Wasa, the God Almighty for making him able to bring happiness to those around him.

Tari Pendet

Description: The Pendet Dance is originally performed as an expression of gratitude as well as offerings to the God Almighty by the Hindunese people of Bali, Indonesia in their temples (Pura). As time goes by, performing artists in Bali changed the purpose of the dance into their “Welcoming Dance”.

Rice fields, morning

Description: En Plein Air Painting of Sriharjo in the morning.

River between hills

Description: En Plein Air Painting of a river view in Sriharjo during the day.

Empty land

Description: En Plein Air Painting the backyard during the day.

Thick grass

Description: En Plein Air Painting thick grass in Timbulharjo during the day.

Parangtritis beach, afternoon

Description: En Plein Air Painting of Parangtritis beach in the afternoon.

Genangan Sampah (Puddle of Rubbish)

Description: M. K Rahman sent a message regarding his concern for our environment through his depiction of a pile of rubbish found in a river irrigation. In this watercolour painting, we are realistically seeing how garbage becomes an inevitable part of our daily lives. Along with its undestroyable existence, problems arise, such as the damage of river and ocean habitat that are likely to be the cause for natural disaster. M. K Rahman stated that problems brought by garbage are not only for those in a largely populated urban area, but rural areas are starting to see its impact. The depiction of garbage found in the water irrigation is a symbol- of how just a little pile of it can block the one thing us humans needed the most; water. Along with this message, M. K Rahman also persuades us to reduce the use of plastic on a daily basis to maintain a clean, healthy, and resourceful environment.

Message from Savanna

Description: While hiking through the hills of Argopuro, Apamungka was greeted by the vast savanna. However vast, the savanna remains small in comparison to the mountains that surround it, and us humans, compared to the grand and mighty nature that came long before us- are even smaller and insignificant.

Silent Phenomenon (Mt. Argopuro)

Description: During his time in the hills of Argopuro, he had expected silence to fill in the forest, until Apamungka witnessed a moment where rain and mist covered the mountain. His time in the forest, along with the laundry he hung due to the soaking rain, means the silence that was formerly there is no more. As for the forest, there was never truly a ‘silent’ phenomenon. There might be what can be considered silence for us humans, but for nature, ‘to be silent’ is a whole-nother perspective, cause silence is a hidden noise. Even without his presence and the nest he built, the forest still chimes, and that phenomenon is what he tries to gather during his stay, cause what we considered empty may not be so empty, it's just simply our limitations to observe.