I Kadek Agus Ardika

Anti Klimaks 1

2 x 150 x 150 cm
Acrylic on Canvas
2010

I Kadek Agus Ardika

Nafsu Yang Akan Mempertemukan Kita

160 x 180 cm
Acrylic on Canvas
2010

I Kadek Agus Ardika

Anti Klimaks 2

3 x 100 x 100 cm
Acrylic, Resin, Wood, Sponge, Canvas and Silver
2010

I Kadek Agus Ardika

Let's Lick Together

55 x 95 x 40 cm
Fiberglass and Paint
2010

I Made Gede Putra

Dreams In Colour

82 x 87 x 20 cm
Sponge, Wood and Glue
2010

I Made Gede Putra

Shooting The Moon

108 x 77 x 98 cm
Sponge, Glue and Granite
2010

I Made Gede Putra

Winds of Green Lines

110 x 59 cm
Sponge, Wood and Glue
2010

I Made Gede Putra

Yellow Sunset In Dark Sky

128 x 55 cm
Sponge, Wood and Glue
2010

Made Wiguna Valasara

Post Power Syndrome (Embossed Series)

200 x 200 cm
Acrylic, Dacron on canvas
2010

Made Wiguna Valasara

Terjaga Dalam Tidur Indah (Embossed Series)

200 x 180 cm
Acrylic, Dacron on Canvas
2010

Made Wiguna Valasara

Black on White

155 x 120 cm, Ø 152 cmcm
String, Dacron, Resin, Glue on Canvas
2010

Wayan Upadana

Ilusi Eksistensi 2

2 x 100 x 100 cm
Clear Resin on Canvas
2010

Wayan Upadana

Melankolis Senja

100 x 100cm
Resin and Acrylic on Canvas
2010

Wayan Upadana

Membakar Embun

100 x 100cm
Resin and Acrylic on Canvas
2010

Wayan Legianta

Bintang Jatuh 2

180 x 200 cm
Mixed media (rubber, glue, zinc white, color pigment)
2010

Wayan Legianta

Eceran Oksigen Murni Tanpa Polusi

180 x 200 cm
Mixed media (rubber, glue, zinc white, color pigment)
2010

Wayan Legianta

Red Carpet

180 x 220 cm
Mixed media (rubber, glue, zinc white, color pigment)
2010

Wayan Legianta

Sebelum Dia Bosan Denganmu

170 x 200 cm
Mixed media (rubber, glue, zinc white, color pigment)
2010

Made Wiguna Valasara

Dalam Pilihan

in Variation Size
Acrylic, Dacron on Canvas
2010

Wayan Upadana

Cerita Tentang Alamku Kini

50 pcs in variation size
Teak Wood and Kuningan
2010

Wayan Upadana

Pohon Bertunas Impian

27 x 17 x 236 cm
Teak Wood, Aluminium and Wire
2008

I Made Gede Putra

My Spirituality

40 x 29 x 303 cm
Aluminium and Andesit Stone
2010

Made Wiguna Valasara

Sleeping in Memory

in Variation Size
Stainlees, Dacron and sofa fabric
2010

← back to Past Exhibitions Group Exhibition

Medi [a] Esthetic by G-five (2010)

Curator & Article by I Wayan Seriyoga Parta
Kadek Agus Ardika   |   Made Gede Putra   |   Made Wiguna Valasara   |   Wayan Legianta   |   Wayan Upadana

G-Five is a group of young artists from Bali who live in Yogyakarta, they are one of group of artists whose existence is manifested in the development of contemporary art. Membership G-Five, among others; Upadana, Valasara, Gede Putra, Ardika, and Legianta, are five young artists who come from the same region, Gianyar- Bali. Although still quite young (emerging artist), each of them has enough existence in contemporary art events and even not in group, they could still exist as individual, strong social ties which is their original genealogy culture (Bali), bringing them to move forward together in treading the field of contemporary art in a broader context.

Togetherness in the group does not make them equate the visual tendencies of their works; in this case, group is a forum to bring each different idea, their ideas and then make the difference among them becomes a strength that can foster a positive spirit to spur competition in a landmark of quality. Although as a group they do not make a deal in conception which could then be brought together, the writer's observation implicitly still bind them in addition to the similarity of origin, and the similarity lies in the exploration of the media that they implementing in work and closeness in the way of expressing ideas.

Since their early career as an artist, each of them has carrying out exploration of media. Upadana who comes from the discipline of sculpture is interested in exploring various materials such as wood, iron, polyester resin, and also two-dimensional media exploration. He even made performance art project for several times in the early trip of his creativity. Derived from the same discipline of art (Sculpture),Made Gede Putra began his interest in exploring the combination of two materials which have different characters such as stone and wood. From those media exploration, then Gede Putra builds a series of meanings.

Meanwhile, three other participants who come from the discipline of painting also began their creativity by pursuing certain media exploration. Legianta chose to remain consistent on an exploration of two-dimensional media on canvas using paint and paste, a special powder and rubber additives, with these materials he has made achievements in terms of technique as well as thematic. While Valasara exploring the media of canvas, he felt not enough just paint on canvas, he sewed his canvas to get emboss effect relief) by using the sponge layer (Dacron), it referred to call as embossing technique. Through this initial exploration, he began to develop the visual tendency and content in his works. Ardika that since the beginning just paint on canvas, in the development he also began to expand his exploration in other media besides canvas.

In the method, they began to cultivate their creativity exploration works with the media which initially focused on the procurement of a technical nature, followed by sensitivity training in terms of processing or arrange visual elements. In short, the creativity is being directed to the achievement of aesthetic, which can be seen on the early achievement of their works. Especially Valasara who is long enough to explore the lines and optical effects, as well as Upadana and Gede Putra, their early works are full with aesthetic exploration tendency that leads to formalism. In a way then, they have decided not to get stuck on one particular tendency.

The interesting development of their work is their persistence to explore media of two-dimensional and three-dimensional to find the way to express their characteristics. We can see in the work of Gede Putra which use circle sponge mat materials which combined with wood and stone. By combining the two materials which obviously show that composition, Gede Putra builds a narrative about something that is natural and manufacturer, or we could say between nature and modern technology. Gede Putra builds a series of relationships of sense through the exploration of the media that he has long been involved with; the media became a metaphor that represents the values of the contradictory aspects of life. Contradictions exist and an important aspect in life, in terms of Balinese Hinduism is called Rewa Bhineda; black and white, good and bad, and so on, something that contrast shown through his work.

Upadana created a tree shape by using transparent resin material on a white canvas; this is the field of composition and color, which is also inserted with a narrative about the sense of plants or nature. Through his work this time, Upadana digging back his interest in things natural and melancholy, he tried to explore to the aesthetic experience that he feels when faced with natural phenomena that arouse his feeling. Bring it on exploration at the level of feeling, at certain points of this experience so memorable for him, so he translated it into the metaphor of tree. For a moment, Upadana’s sensibility reminds us to the Romanticism tendency which generally explored at least two sides, the poetic and the tragedy to emphasis the sensibility that can evoke feelings. Romantic artists expressed it by exploring fragments of natural events such as dramatic sunset, or mountain erupted with great force that horrible. Upadana’s way to reveal is not dramatic, tend to be closer to the poetic, like a white tree on a white canvas plus with lines of fire.

Ardika displays the figure of Tweety, the popular icon with an object wrapped in meat; two indirect object compositions which create a meaningfully narrative. Ardika re-add a text 'see u in the next sickness’. Then what is the relationship between the two objects? In this case, semi- circular shaped object which wrapped in brown meat is defined as the consumption, and then reinforced by the text of see you at the suffering in the chant of the bird, Tweety. Consumption in a broader context can be intended as the tendency of consumerism and consumer culture has infected human of contemporary. Consumption activities are full of compaction on the needs that are constructed, false consciousness by awakening the desire to consume, although we not really need it. The desire is constructed through visual tease; couple with the promises which are invited to taste the product being sold . When a series of visual construction being replaced by the critical load as in Ardika’s work, the audience may wonder or perhaps confuse about the intended meaning. But that is how artworks, often made indirect reference to the intended meaning, previously made for the audience to wonder, think for a moment, the next step could be to evaluate the phenomenon and has become a daily and even have hegemony. Baudrillard states it as simulacrum and we live in the consciousness of this simulation, the facts that have been constructed and we unconsciously absorbed in this construction.

Meanwhile, Valasara which makes the figure of Barong with white embossing technique on canvas which is also white, this work shows two thematic trends: 1. Barong demystification, which is actually filled with a mystical aura, 2. Barong sublimation, livened up with ornate carvings and glittering colors, makes it more simple and sublime. Demystification in question is a cultural phenomenon that occurred in Bali in the context of tourism development, the Barong has become an icon in selling cultural tourism, which is a respected figure who actually desecration sacred Barong suffer for the sake of the tourism industry. Then Barong is embodied into two realities: religious and cultural. In the context of Valasara’s artwork, it’s made more simple, white on white figure of Barong in sublimation of his personal appreciation, looking back to the essence of the Barong itself. Valasara wants to re-sanctify the Barong from plural cultural which lived in the distorted reality and tends to be understood in purely surface level, otherwise there’s noble values contained in Bali imaginary creations of human figure.

Similarly with Legianta which has long concerned in exploring viscous color with ‘plototan’ technique that prepared looks like Jajan Sarad (traditional Balinese snacks that are used as a means Upakara / offerings). Through this technique he made the creature figures like a characteristic of hero in comic. At the beginning, Legianta’s technique seems look ordinary, but then his sense of media exploration made him find the rhythm of his artistic performance of monotonous repetition of lines and monochromatic. From this starting point, he finally built his artwork’s content, as social beings that have an awareness of the social phenomena around him. Once again, a visual narrative that is not disclosed indirectly refers to a particular phenomenon; Legianta wrapped it by using the figures of creature-like robots with ornamental decorations depict magic which is indicated by the text of 'bim salabim, abra kadabra'. From the visual construction that is shown, Legianta was referring to the contemporary cultural phenomenon which has become part of the reality of modern societies. That was Legianta who build relationships through the development of visual sense in his work, and the tendency has become such a common trend in the exponents of creative artwork in the group G-fived.

In general, their artworks have the intention in exploring the media to show the aesthetic value, namely the form of consciousness on the aesthetic aspects of organizing. Through exploration, they build their narrative on the question of self, social, culture, modernity, globalization and other traditions which presented by their own visual language. One of them with this metaphor, it does not appear in a linear narrative or clear story but it shows an independent fragments. Their artworks exploration is related to their interpretation and application of theme or issue which rose in order to display visually.

Based on the exploration of media, they then develop their creativity in a variety of visual tendency, ranging from abstract, figurative to realist, with the various themes and contents. In developing a variety of visual tendencies, they continued the way that has been cultivated, an exploration that are more technical, then to be developed into the language which according to their own. If this language has grown consistently, each of them will have a maturity in the elaboration and then it will encourage the uniqueness and characters in their works.

Particular visual character becomes an important discourse in the development of modern art are summarized in spirit to create novelty, authenticity and originality in work. Accumulate in the landmark which later became ism, modern artists compete to discover the uniqueness of each. In the area of movement of thought is based on the dialectic of Hegelianism (thesis, antithesis, synthesis, and new thesis). An early achievement called the thesis which must contain of the seeds contradictive. Then it will be responded by other searching and it will result antithesis, then searching become a synthesis, eventually deliver of new achievement or new thesis. Dialectic, that’s what happened in the ism movement in modern art, a longer acceleration, a tighter impressionism which culminate in formalism or abstraction that out of space and time.

In the era of contemporary art, this uniqueness searching began to be abandoned, eroded by the tendency of anything goes, flatness, and the appropriation tendency. Appropriation is taken from something and processes into something else (in modernism it becomes the new thing), in its development, especially the postmodern appropriation, it becomes 90% "copy - paste" or in another words less in processing, and the tendency which go beyond the technique with conceptual reasons but instead of art conceptual. Various tendencies are fighting each other to "legalize" themselves with their respective values, to respond to the collapse of the values that used to apply the absolute.

Hegel’s dialectic model is outdated, but according to the author, it does not mean that all values that are born by dialectic should be completely abandoned, but the uniqueness remains an important value in the work of art. Although Warhol’s Brillo Box (1995) did not differ from the real box and then Arthur Danto was inspired to create thesis ‘the end of the art’, at least he still has a uniqueness because for the first time make the work approved by the arts as a valuable artwork. Indeed his uniqueness is not in technical achievement, but more on his idea.

Uniqueness, or in modern terms called authenticity and originality are the heritage values that do not have to be rejected or disposed, both still can be a value for the creativity of artists to support achievement in their artworks. The phenomenon of globalization (the zone of freedom) like today where a variety of free-running battle of personal values in the pursuit of existence, so the value contains of high relativity. Sometimes, the global development also makes an artist confused and experience disoriented. For that basic values such as technical performance and aesthetic value or technical matters in the art can sharpen their sensibility of art (known as textual value other than contextual value), a first step that can provide the creativity of artists to a wider and open the gate.