READ: Rebirth – Wayan Aris Sarmanta. PDF, EPUB online free reviews.

Not For Sale – Tangis Amarah Pulau Kecil Baris, 2016 – Aris Sarmanta

The genre of Batuan Painting has a unique story within the annals of Balinese art, and is recognized with a special esteem. Enduring the ever-changing sociopolitical, economic climates that shaped the island during the past 90 years, the style has evolved undergoing notable transformations.

The golden era was its infancy, during the 1930’s the Batuan ‘School’ was defined its own unique character, setting it apart from painting developments in Ubud at the time. Often dark and moody sketches in black ink, the compositions were generally dense and crowded, the white paper and canvas set against the compositions deep saturated tones created eye-catching contrasts.

During the 1970’s the style was revolutionized, the works became larger, detailed, dynamic and colourful, highlighted by universal themes. Painters I Made Budi (1943-2016) and I Wayan Bendi (1952-) were the innovators, responsible for the stylistic developments that assisted the genre to become internationally renowned. The second decade of the new millennium has revealed fresh young talent, the fore bringers of another exciting chapter in Batuan painting.

Tapak Dara – Unity/ Tapak Dara – Pilar Kebangsaan, 2017 – Aris Sarmanta

History reveals that generally the most extraordinary works of Balinese traditional art occur while the artist is still young, with a sense of freedom, and time on their hands. After this marriage, family and cultural commitments take priority. There are also the pressures from the art world – collectors, dealers and gallerists and the money mechanism of market forces.

At twenty-two years of age I Wayan Aris Sarmanta, (b.1995) was the youngest finalist in the 2017 TiTian Prize, an award that honors talent in all genres of Balinese visual art. While his first major group exhibition was in 2013 in Ubud, it was his masterwork Pohon Kehidupan (Tree of Life), painted in 2015 that truly captured local art observer’s attention.

Open 13 May at TiTian Art Space Ubud, REBIRTH, Sarmanta’s premiere solo exhibition showcases his remarkable skills that are a continuation of the tradition of storytelling – the historical fundamental that defines Balinese art. The artist presents nine paintings rich in symbolic meaning, complete with an array of cultural icons that are some of the major visual features. His themes range from the light-hearted, to serious, some works with local and national social, and political references.

Bulan Cinta (Moon Lovers) – Aris Sarmanta

Sarmanta explores a full gamut of colours out side of cultural conventions. He discovers hues through the complex and time-consuming skill of mixing, and then, according to traditional techniques he builds up the colour strength, layer-upon-layer. He adopts fresh colours; metallic bronze, grey, silver and gold adding potent, and shining aesthetic contrasts.

He experiments with and combines iconography from the centuries old Kamasan religious paintings, along with interpretations of rerajahan drawings. The special symbolic talismans imbibed with mysterious powers that may never be reproduced exactly, unless for ritual and sacred purposes. Together many elements combine to bring exciting new dimensions to his Sarmanta’s paintings, revealing a talent that defies his years.

Pohon Kehidupan, a detailed execution of a traditional work with his modern conceptual adaptations is divided into two equal halves, symbolizing both the earthly and heavenly realms. It emphasizes local philosophies that highlight duality, and that life is a complex inter-relationship between positive and negative forces. Visual and philosophical equilibrium is beautifully achieved in this composition that reveals the core principle of Balinese traditional aesthetics – balance and harmony – also the fundamentals to the Balinese way of life. The painting consumed one year of Sarmanta’s time to complete.

Not For Sale – Tangis Amarah Pulau Kecil Baris, 2016 – Aris Sarmanta

History reveals the dilemma of tradition meeting with modernity, and the island’s natural environment and culture being threatened with development. Featuring a Balinese boy warrior (the Baris dancer) expressing both sadness and anger, his headdress depicts a scene of traditional Bali, while an emblem upon his chest reads “Sold Out”. In the foreground two small figures stand in opposition, one a Balinese man with a sign stating “Not For Sale”, the other a satirical character representing a businessman, in a suit and tie holding a brief case, complete with the facial features of a rat.

During his youth the budding artists was trained by his grandfather I Wayan Regug (d.2017), a member of the famous 1930’s Ubud based association the Pita Maha. In recent years, however Sarmanta has been a ‘beneficiary’ of the new Baturlangan Artists Collective of Batuan. Defining the new model of Balinese collectives that are contributing to the current era of renewal of traditional art, Baturlangan’s strong leadership style has a clear vision and mission. This is not only windfall for its members like Sarmanta, yet also for the future generations, via their program of regular workshops for school children.

Bulan Cinta (Moon Lovers) 2016, reveals Sarmanta’s confidence to expose his intimate side. Imagination fuses with memories of personal love experiences in a composition depicting heaven and earth, and featuring two young lovers floating about in various romantic situations. Planets, stars and asteroids, along with objects that combine traditional iconography fill the cosmic scenario, while metallic colours truly bring the painting to life.

Dewa’s Pet (ink, coffee & tea on paper) – Aris Sarmanta

Although young, Sarmanta has developed a strong social conscience. He cites social media as a powerful tool keeping him informed of important local and global events that impact the current social and political landscape. Tapak Dara – Unity/ Tapak Dara – Pilar Kebangsaan 2017, is a landmark work that reveals the extent of the artist’s awareness, along with his ability to combine his feelings into a composition that is relevant to all Indonesians.

Upon a brown background a large white plus sign is the prominent visual structure. It is the Balinese Hindu symbol for the spirit of unity, also of equilibrium, eternity and sustainability. It signifies the four pillars upon which the Indonesian national motto of Bhinneka Tunngal Ika, (Unity in Diversity) are founded. Sarmanta prompts us that the forefathers of the Republic of Indonesia (NKRI) have laid out four supporting concepts to create national unity, even though there is great diversity within the country.

Reincarnation, 2017 – Aris Sarmanta