The First Asia Pacific Triennial of Contemporary Art

Kalakalakalakala 1992-93 Installation comprising wood, canvas, metal and fishing net Nyoman Erawan was born in Bali, Indonesia in 1957 into a family of artists - Balinese literature, traditional painting, gold cloth making and dancing were among the arts practised in his immediate family. Living within the internation' al atmosphere which emerged in Bali after the growth of tourism, he was attracted to modern and contemporary art, andwent toYogyakarta to studyart-first at the Indonesian Art College (1977-80), and then at the Indonesian Institute of the Arts (1980-87) where he specialised in painting. He also joined the Sanggar Dewata studio, and participated in its exhibitions of 1987 and 1988. This gained him early recognition as an Indonesian artist. In 1987 he returned to Gianyar Prefecture in Bali where he works as a professional artist. Besides the Sanggar Dewata exhibitions, his work has been represented in a number of group exhibitions including the 'Jakarta Biennale for Young Artists', Ismail Marzuki Cultural Center, 1989; 'Modern Indonesian Art', Indonesian Festival, touring the United States, 1990-91; 'Installation Five', Hidayat Gallery, Bandung, 1992; and 'Jakarta Art & Design Expo 1992'. In 1990 he was awarded the Lempad Prize by Sanggar Dewata, Yogyakarta. To growup in Bali is to grow up in an artis­ tic atmosphere. By participating in traditional events, Balinese people are constantly in­ volved in making collectiveartistic creations. Through his family's special involvement, Nyoman Erawan's encounter with art was even more intense. He learned traditional artistic creations early in his childhood as INDONESIA NYOMAN ERAWAN well as their philosophical background. His inclination towards makihg instal­ lations was already evident at art school. While he specialised in painting, his workwas almost always three-dimensional. In manyof them, ready-mades and found objects were placedtogether, forming installations. Though there was almost no discussion of instal­ lations as a medium at that time, his work was well accepted within the Institute. His present work as a professional artist in Bali occupies a large area of art, craft, traditional events and ritual ceremonies. He also explores modern concepts and forms. Alongwith fellow artists, KrishnaMurti, Made Djirna and Rianto Rudikyo, Nyoman Erawan is known as a progressive and experimental artist. He explores the ways in which the modern 'borderless world' and genuine ethnicity are both reflected in present Indonesian creativity. Even as a student at the Indonesian Institute of the Arts, he discovered elements and effects that have become central to his art. He draws on his knowledge of old scripts and Balinese traditional symbols, along with exploring texture, to convey age and antiquity. Ruined surface (1987) reveals his tendency to change Balinese ornament and symbol into bright, expressive colours and abstract patterns. Even in early work, canvas was often replaced by cloth, and canvas and cloth elements were burned to create images of mutabilityand decay, reflectinghis perception that constant change is intrinsic to all life: 'Only God is eternal'. In Process of death 14 purified (1989), white cloth is associated partly with Balinese traditional cremation- white cloth is U$ed to wrap corpses- but it is also explored as a medium in itself. Burned effects , images of decay, and cloth con­ struction are characteristically found in his work - providing an opportunity to mix traditional Balinese visual elements and contemporary images. When Nyoman Erawan returned to work in Bali , he became more interested in installation and the use of space for creating works of art. Many of his recent works can be categorised as installations - three­ dimensional works whicn use found objects, ready-mades, carved wood and constructed cloth. In Blue Rjiang (1992), decayed wood is leaned against a wall. Almost half of it is covered by blue cloth, which gives the impression of growing on the wood. His translated comment onthe work illustrates his characteristic preoccupation with change and transformation: Looking at their functions and uses, antique doors, traditional calendar and wooden boats ... are all traditional. [However], in my instal­ lations, the values behind those objects are transformed [through] an entirely new context. Jim Supangkat Kekunoan (Ancienttime) 1987 Oil and mixed media on board 70x63cm