I nyoman masriadi biography template
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Untitled book
Inspired by the heroes and graphic conventions of comic books, Masriadi paints pictures of the body as a site of comical and satirical reflection. Muscular, bare- chested figures often pictured in tense combat, dominate his tightly framed compositions. Their powerful and glistening bodies, squeezed into the picture frame are often exposed to ridicule, sometimes clothed in ill-fitting colourful undergarments and other times undermined by political subtexts. Textual commentaries added in the form of captions and speech bubbles complete the homage to comic books and give voice to the figures, who embarrass themselves through stupidity or seek to embarrass others through abuse.
In this painting, a supposedly learned man sits like a meditating figure on a pile of books. His posture resembles that of nomadic ascetics that once meditated in the forests and caves of Indonesia. Wearing gym or boxing shorts, his huge frame casts an even bigger shadow over the coded drawings and inscriptions behind. He is reading an untitled book held high in his right hand. His bloodshot eyes are strained and remained fixed as though eyeing off an opponent. Are we to believe that this image is about reading and learning? The joy of reading seems to be overshadowed by a sense of frustr
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Nyoman Masriadi’s story reads unlike any other within the history of Indonesian art. It charts the phenomenal rise of a talented painter, who in at the age of 36 achieved the prestige of being the first SE Asian artist with works topping USD $1 million at auction. A feat that immediately propelled him into the international art spotlight.
Aspiring Singaporean art dealer Jasdeep Sandhu stumbled across Masriadi in his studio in Yogyakarta in , commenting on the painter&#;s self-portrait ‘Pulau Bali’ (‘Island of Bali’), “It was a departure from anything else I had ever seen.” Sandhu became instrumental in Masriadi’s career development via his Gajah Gallery in Singapore.
Born in Gianyar, Bali, Masriadi moved to Central Java to study art at the Institute Seni Indonesia (ISI) Yogyakarta in In , however, he left before his final assessment due to his interests conflicting with the teachers and curriculum.
In Masriadi returned to Bali with his wife to be, and for a year worked feverously churning out souvenir paintings of Balinese mythological figures. This led to the development of his first superhero characters. With his new family, he returned to Yogyakarta as Indonesia was undergoing a turbulent transition. Following the Asian Financial Crisis and the fall of General Suhart
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