Up to this moment, the only community of glass painting remaining to exist is only at Nagasepaha Village, Buleleng. The village situated some 7 km east of Singaraja retains tens of active glass painters. They are often marginalized by the mainstream of current painting, and even they are tended to be positioned as the secondary artists. However, the glass painting introduced by Jro Dalang Diah remains to be on the move. It is indicated by some 50 glass painting are now exhibited at Bentara Budaya Bali.
There are 12 painters engaged in this second exhibition. Two of them were new comers, but the style and genre on show are no less attractive than that of others belonging to their senior. Descriptive style of Nagasepaha glass painting generally maintains the language of expression that has become their dialect, including engendering new idiolect of new painters, too.
Kadek Suradi, for instance, is a young painter often making experiment and visual exploration. He does not only implement conventional technique of glass painting, but also makes splashing and other effects. On the surface of glass, Suradi pampers his painting with visual effects. Mature exploration yields the works having various styles. Diversity in style then become his style.
Different from Suradi, Ketut Samudrawan prefers to freeze the movement in many of his works. One of them is his painting entitled Hanuman War in Alengka. Interestingly, hanuman is illustrated to ride a motorbike. This painting would like to tell story about Hanuman in Ramayana epic whose tail was burnt.
As consequence, the fire burnt many buildings including the room of queen (wife of Ravana). Ketut Samudrawan described all in modern style.
Menwhile, Ketut Sentosa features more myth, legend and even today’s social life. For instance, he took out beautiful coffee vendor, prostitution at cafes, demonstration of students, airline crash, television program up to general election. Texts of visual puppet seemed to have been associated with the figures like Sangut and Delem that were often published in mass media.
Afterwards, Jro Dalang Diah, I Nyoman Subrata, Ketut Suamba, Kadek Nurining, I Made Sukrawa, ketut Sekar, Wayan Arnawa, Gede kenak Arya and Kadek Wijana highlighted the painting of Nagasepaha style in its original form. In other words, they were not far from its origin established in 1927.
News by International Bali Post
Be The First To Comment