Nyoman Erawan

Affraid

180 x 180 cm
Acrylic on canvas
2010

Nyoman Erawan

Alert

200 x 400 cm
Acrylic on Canvas
2010

Nyoman Erawan

Api Depresi dan Batu 1

180 x 360 cm
Ink on canvas
2009

Nyoman Erawan

Api Depresi dan Batu 2

180 x 180 cm
Acrylic on Canvas
2009

Nyoman Erawan

Api Depresi dan Batu 3

180 x 180 cm
Acrylic on Canvas
2009

Nyoman Erawan

Api Depresi dan Batu 4

180 x 180 cm
Acrylic on Canvas
2009

Nyoman Erawan

Api Depresi dan Batu 5

180 x 180 cm
Acrylic on Canvas
2009

Nyoman Erawan

Api Depresi dan Batu

200 x 200 cm
Acrylic and Ink on Canvas
2009

Nyoman Erawan

Api Histeria dan Gerbang

180 x 180 cm
Acrylic on Canvas
2009

Nyoman Erawan

Badut 1

130 x 130 cm
Mixed Media on Canvas
2011

Nyoman Erawan

Badut

140 x 190 cm
Mixed Media on Canvas
2011

Nyoman Erawan

Cap Go Meh

300 x 400 cm
Acrylic on Canvas
2010

Nyoman Erawan

Fathoming Cosmos 2

130 x 130 cm
Acrylic on Canvas
2012

Nyoman Erawan

Fathoming Cosmos 3

130 x 130 cm
Acrylic on Canvas
2012

Nyoman Erawan

Fathoming Cosmos 4

100 x 135 cm
Acrylic on Canvas
2012

Nyoman Erawan

Fathoming Cosmos 5

1350 x 100 cm
Acrylic on Canvas
2012

Nyoman Erawan

Furious

300 x 400 cm
Acrylic on Canvas
2009

Nyoman Erawan

Grin

150 x 150 cm
Acrylic on Canvas
2009

Nyoman Erawan

Jempol, Depresi dan Daun

80 x 150 cm
Acrylic on Canvas
2009

Nyoman Erawan

Kosong

135 x 185 cm
Mixed Media on Canvas
2011

Nyoman Erawan

Nervous

200 x 200 cm
Acrylic on Canvas
2009

Nyoman Erawan

Oversee

200 x 200 cm
Acrylic on Canvas
2009

Nyoman Erawan

Ruckus

200 x 200 cm
Acrylic on Canvas
2009

Nyoman Erawan

Shocked

200 x 400 cm
Acrylic on Canvas
2009

Nyoman Erawan

Untitled

120 x 120 cm
Acrylic on Paper

Nyoman Erawan

Terong, Depresi dan Batu

80 x 150 cm
Ink on Canvas
2009

Nyoman Erawan

Tarian Para Korban 1

300 x 500 cm
Acrylic on Canvas
2008

Nyoman Erawan

Suspicious 1

300 x 400 cm
Acrylic on Canvas
2010

Nyoman Erawan

Suspicious 2

300 x 400 cm
Acrylic on Canvas
2010

Nyoman Erawan

Yellow Histeria

300 x 400 cm
Acrylic on Canvas
2010

← back to Past Exhibitions Solo Presentation by Nyoman Erawan

Salvation of the Soul (2012)

Curator & Article by Rizki A. Zaelani

“[a]gama taught by Vedas do not attempt to explain the origin of life or exceptional answers of philosophical questions. Conversely, it’s been designed to help people understands the greatness and magnitude of the existence. It is actually suggesting more questions than answers, with the intention to keep the humans in attitude of reverence”.
― Karen Amstrong, “A History of God”

On the latest three years (2009-2012), Nyoman Erawan has taken a surprising decision: he presents facial and body image on his abstract works. On my opinion, this is a step of artistic development which established a big question: How does the physical image may exist in the composition and construction of abstract aesthetic ideas? By his standing out abstract power, Erawan remains realize his color effects is dominant than the presence of facial image on his canvas. For me, those facial expressions or portrait of someone’s figures is not merely as the subject matter and part of a whole which describe the motion and the shock effect of color. As he explained, this series of sophisticated paintings are not intended to show his works development in self portrait painting.

All the artworks of Nyoman Erawan, such as art rite, installation, video or painting can be defined as a manifestation of emotion expression and statement of soul intuition which based on the self-body involvement. Particularly on art rites, expression and performance of body are the manifestation of self involvement as well as the signs that represent glorification on values of joy of life through the principles of balance. The series of paintings contain self-body image may be considered as an option for Erawan in expressing attitudes, judgment or his personal muse on life and natural events within perspective of the existence of humans. In other words, he brings out those attitudes, judgment and personal muse in a dead canvas. The state of self-body in Erawan’s paintings is neither a picture of the body with a particular social identity nor the naked with no moral values, in fact that body is a body veiled by soul consciousness who crave for virtue and nobility. That body is a description of ‘Jiwatman’ (self-body which is connected with the soul) who trying to express its realization as ‘Atman’ (a soul created from the light spark of the Creator). To me, the self-body image on those paintings represents the notion concerning the state of human body in an attitude of reverence in the presence of the Great Universe.

Upanishad has indicates us where or how the soul truthfully dwells in the human self-body: “It is the most perfect soul (Purusa), it is the smallest, which masters the knowledge, which hiding in the heart and mind, those who know it become immortal”. The perfect soul is ‘Jiwatman’ which realizing his existence as ‘Atman’. The deepest meaning of ‘Moksa’ is the eternal liberation of the soul from the Phunarbhawa law (reincarnation), so that the soul able to occupy its origin and genuine-lasting end (Paramaatman). To reach the salvation of Moksa, one is required to seek and enforce salvation way on his/her life, the way that purifies the soul from the bondage of ‘karma’ and the deception of ‘maya’ which contain ‘awidya’ (darkness). This is what referred to ‘mukti’ or purification of the self (soul). Mukti is not only significant for one’s salvation in the eternal life, but also now in the mortal world. “Moksa can be achieved during life, but it’s limited to people who have been free from the bondage of mundane and the sorrow and grief of life. As the Maharsi who is free from the mundane desires and unconditionally dedicate himself for the welfare of the world. Moksa during lifetime called ‘Jiwan Mukti’. I personally believe that artistic expression of Nyoman Erawan is a manifestation of ‘mukti’, not by explanatively teaching the religious values (Balinese Hindu) but by exploring and celebrating the spirit of the values as basic of proper aesthetic attitude. Nyoman Erawan, he never seems to deter in expressing his art as ‘the sign to remember’ and the statement containing the question.

Bandung, May 2012