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Alila Ubud
Desa Melinggih Kelod, Payangan, Ubud Bali 80572
  • East - West : Trough Woman at Alila Ubud Gallery - Bali Jul 17, 2006
  • News update from ALiLA Hotels and Resorts Jul 8, 2004

    Alila Ubud takes pleasure in inviting you
    to the opening of a painting exhibition
    entitled "PAINTING MY SOUL"
    watercolour paintings by Sasya Tranggono

    on Saturday, 22 May 2004

    At 07.30 pm
    Alila Ubud Gallery
    Desa Melinggih Kelod, Payangan-Ubud
    Bali, Indonesia

    The exhibition will be held until the end of June 2004


    As a new emerging artist, nothing much was heard of the female artist, Sasya Tranggono, until after she was especially nominated to exhibit her artworks in the prestigious art festival, CP Open Biennale 2003, in Jakarta last year. In the prestigious art event, Sasya exposed a number of watercolour artwork depicting the traditional Sundanese ‘wayang golek’ (wooden puppets). The series of artworks is in itself interesting in the sense that it has given an evidence of creative development which functions as an extension of Sasya’s creative process from her earlier focus on painting objects popularly known as still-life.

    At her first exhibition in Bali this year, Sasya exposes her current series of realm of flora, especially those of flowers. Thematically, the choice of the subject matters seems to be ordinary, if not cliché. That being the case, however, it would give different reality, if one considers the show in the context of the artist’s artistic progress in more comprehensive approach. Sasya’s current work carries sense of surprises, as it tends to carry in it a deflection against its own discipline, methods, style, language of expressions and even the consciousness that so long dominated her work. Visually, Sasya’s floral series this time has departed from the stile-life nuance that she normally worked on. The question to be answered is, has she departed from the still-life fine arts?

    Still consistent in her choice of the medium - watercolour (a rare commitment that can potentially form a trademark for her artworks), Sasya takes another deflective step by treating the art medium in such a different way from the way she normally did. She is no longer confined within the discipline that defines an object as something that is accurate and rigid. Instead of being restricted by the nature of water as liquid - slippery substance that is sensitive to changes of shapes, Sasya, on the other hand, mobilizes this medium further. As a result, the level of the objectivity and precision of the imagery representational is much less evidential. The existence of the objects in her works, then, become vague, emerged in impressionistic nuances rich of element of surprise.

    Representation, then, is not perceived as a technical and formal process of interpretation of objects in pictorial spaces. It takes form as a quest for the most accurate expressions in responding to the objects. Gone is description; and comes expression. Objects come as something emotional rather than intellectual. Each stroke of the watercolour on the canvas or paper is always able to depict rhythm, atmospheric tones that reflect the state of mind and the mood of the artists. Sasya does more than merely describes flora, she ‘gives them life’ through her natural drives within herself. The flora on her canvas is not a mere visual imagery, but it is a piece of music behind the imagery; it is the desire and passion of the artist behind the music. For that reason, it is very well expressed that Sasya calls her show "Painting My Soul".
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