Exhibition Catalogue | Bali: Return Economy

fremantle arts centre & perth festival

bali: return economy

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bali: return economy

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A Perth International Arts Festival event supported by Visual Arts Program Partner Wesfarmers Arts

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Cover Image by Ash Pederick Left, marketing image by Toni Wilkinson.

foreword Bali is famous as a major Australian holiday destination, but there is a particularly immediate and dynamic relationship between Bali and Western Australia. Bali: return economy examines how this fascinating connection is manifested through the work of 26 Balinese and WA artists.

The show has been curated by Fremantle Arts Centre’s curator Dr Ric Spencer and well known Fremantle Balinese art expert and writer Chris Hill. Chris’ long-standing connections with the Balinese art community have been essential to the development of the show. Desak Dharmayanti, the exhibition’s Bali-based manager has also been essential for her knowledge of and liaison with the local artists.

We are pleased to be presenting this exhibition as part of the 2014 Perth International Arts Festival and I would like to thank PIAF for their support and in particular Margaret Moore, Visual Arts Program Manager.

We also appreciate the interest and support of the WA Consulate of the Republic of Indonesia and Karen Bailey of Balai Bahasa Indonesia, Perth.

Fremantle Arts Centre as part of the City of Fremantle also acknowledges the ongoing, generous support of the State Government through the Department of Culture and the Arts.

— Jim Cathcart Director Fremantle Arts Centre

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bali: return economy More than 400,000 West Australians, around one in seven of us, visited Bali in 2012. Bali is closer to Perth than Sydney or Melbourne and with 1000 tourists from WA each day making the three-and-ahalf-hour flight - Bali has today become a travel destination of choice for West Australians. — With numbers like this it is no wonder that there are strong links between WA and Bali. Through the work of 26 artists from both Bali and WA, including the work of several from private West Australian collections, BALI: return economy provides a departure point for exploring these links. It offers West Australians the opportunity to see some of the more interesting art that has emerged from a singular and ever-changing relationship between near neighbours.

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Our connections with Bali did not begin with tourism, in fact long before Australians started visiting Bali Indonesians were

visiting Australia. Nomadic traders from Indonesian islands came in search of trochus shell and trepang, and there is firm evidence of trade some hundreds of years ago with indigenous Australians. Trade was then and remains now an important link. Just as some of the trochus shell acquired from Australian waters by Makassan traders surely ended up in the palaces of Balinese aristocracy, so today goods and produce exported from WA will end up in Balinese homes and tourist resorts.

Likewise, large quantities of Balinese goods, from handicrafts to homewares and furniture, are now exported to WA. There are also connections resulting from work done by WA academics. This has included the research by Tony Cunningham (University of Western Australia) into natural dye plants used in traditional textile production, and Jonathan McIntosh’s (UWA) work on Gamelan music. Carol Warren (Murdoch University), whose essay appears in this catalogue, has for many years been researching a wide range of issues relating to political and development issues. In the area of art, Paul Trinidad (UWA), a contributor to this exhibition,

has been successful in forging links between UWA and ISI (the Indonesian Institute of Art in Denpasar) and UWA students now have the opportunity to study in Bali.

Many West Australians are involved in philanthropic work in Bali and John Fawcett, whose foundation has saved the sight of many thousands of Balinese, is represented in the exhibition through examples of his artwork; before moving to Bali in the eighties he was a notable ceramic artist and teacher. The links extend to sport; the Fremantle to Bali yacht race is a major event which has been a fixture since 1981.

While there are these and many other relationships, in terms of numbers it is tourism that dominates, and the chances are that the person sitting next to you on your next return economy flight will be going to Bali to relax and have a good time. In spite of government warnings and a media infatuation with negative reports (for example rabies, schoolies, methanol-spiked drinks, failing infrastructure, motorcycle accidents) we continue to visit Bali in record numbers. The brutal murder of 202 people by terrorists in the Bali bombing in October, 2002,

was deeply traumatic for Bali and Western Australia but even an event as terrible as this failed to keep Australians away for long.

Numbers dropped for a year or two but were soon back to where they had been.

Australians visit Bali for a variety of reasons but a love of Balinese people and an appreciation of their culture is certainly a significant factor. Bali is a minority Hindu culture in a country that is predominantly Muslim, and its rich cultural history and the peculiarities of the relationship it has with the rest of the archipelago add to Bali’s unique vibe. On a brief holiday, however, dependent on hotel guides and tour operators, it is hard to get more than a superficial view of Balinese cultural life. It is our hope that this exhibition will reveal a world that seems familiar but which can also take viewers deeper into the complexities of Balinese life.

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Viewers looking for the “real Bali” will be disappointed as there has never been such a thing.

Like all cultures, Bali has either evolved or had change imposed from outside, indeed it would be hard to find any Balinese

art work made since the 1930s that has not in some way been influenced by the “outside world”. Young Balinese artists today have great respect for their more traditional elders but are also keen to tap into the stream of ideas available in a globalised information network.

Equally the WA artists in BALI: return economy who have lived and worked in Bali have been influenced by a wide range of ideas, materials and processes of Balinese culture and history.

BALI: return economy presents work from artists Pranoto (originally from Java and based in Bali), Suklu (Bali) and Jango (Bali), who have shown in WA before (Jango revisits Fremantle Arts Centre after showing here in 1994 in Bali Sing Ken-Ken!? - a group show of political Balinese cartoonists) while those who have not shown in WA before become part of the ‘return economy’ through their contact with the curators on their research trips to Bali. All the Bali based artists’ associations intermingle and many have collaborated or shown together before. For instance Suklu and Sani have shown at Pranoto’s Gallery while Kerry Pendergrast worked with Sani at Senawati

Artspace. Their work also interestingly crosses boundaries of materialism, processes and the lines between art, trade and merchandise.

West Australian artists represented in BALI: return economy who have lived and worked in Bali include Kerry Pendergrast, John Darling (lived in WA from 1990-2011), John Fawcett and Rodney Glick (Glick is exhibiting as Seniman Industries with co-founder David Sullivan). Glick himself has exhibited extensively and been represented in several biennales but interestingly in BALI: return economy it is trade and his love of coffee and the industry of networks that occur through Seniman café that becomes central to his life in Bali. West Australian artists in BALI: return economy who are based in WA have had an ongoing relationship with the island through work, travel and family and these associations are born out through their particular stories. For instance Annette Seeman’s father Tom grew up in Indonesia with holidays to the island as a boy in the 1930s before Annette herself revisited in the 1990s to build a villa in Ubud.

By and large Balinese art has been ignored by West Australian public collections, often accused of being either derivative or stuck in tradition. Perhaps it is because of its sheer familiarity, its ‘next door neighbour-ness’.

As West Australians we have traditionally looked beyond the horizon for (a long left) home perhaps Bali is just too close. It is visitors from elsewhere who still find Bali an exotic other culture not one transcended by needs of pool bars and tattoo shops, and it is museums and collectors from Asia, Europe and the US, not Australia, who have been buying Balinese art, resulting in growing interest on the international art market (a work by contemporary Balinese painter Nyoman Masriadi recently sold for over one million dollars).

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In BALI: return economy is a sense of the closing space between a modern society and its traditions, the pressures of development and a desire to show the island’s culture to masses of tourists - and this leads to artists who are proactively engaged in working within this space to build new forms of politically and environmentally engaged art.

Not art searching for answers but more so involved in return

economies, conversations built on new collaborations and visiting old friends - on an island perfectly situated for just these types of ongoing interactions.

— Ric Spencer Artist, writer and curator, Fremantle Arts Centre.

Chris Hill Author of Survival and change: three generations of Balinese painters, published by ANU, and a collector of Balinese art.

IMAGE: I Wayan Bendi Surfing (detail),date unknown Ink and acrylic on canvas 100 x 70cm

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bali: retrospect & prospect for the return economy Twenty years ago Fremantle Arts Centre and Murdoch University collaborated to mount an exhibition entitled ‘Bali Sing Ken-Ken!?

Tourism, Culture and the Environment in Balinese Political Cartoons. The intent of that exhibition was to introduce the West Australian public to the economic and cultural controversies raging on the Indonesian island that was already then one of Australia’s favourite playgrounds.

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The title of that exhibition which translates as ‘Bali No Problems!?’ - was an ironic play on this everyday Balinese greeting: Bali was beginning to experience big problems with land alienation, pollution, coastal erosion, and the social impacts of rapidly escalating tourist numbers, outside investment and inter-island migration.

In 1994, the year of the Bali Sing Ken-Ken!? exhibition, the Indonesian government gave the go-ahead to a development that was to mark a watershed in the island’s history. Fiercely opposed by the Balinese public because of its location facing the iconic temple of Tanah Lot, the Bali Nirwana Resort marked a dramatic shift in the island’s development. This project linked the beginnings of a voracious real estate industry to luxury tourism and opened the rest of the island to largescale resort development that had been restricted under the 1971 Master Plan. Political cartoons in the 1994 exhibition satirised the enclosure of green strips by supermarkets and hotels, the crowding out of traditional warung coffee stalls by McDonalds and Dunkin Donuts, the conversion of padi fields into golf courses, and the displacement of Balinese from their traditional land.

Over the subsequent decades great changes have taken place in Indonesia, where Balinese are an ethnic and religious minority.

The fall of the Suharto regime in 1998 brought sweeping changes to the nation, which is now the largest Muslim country in the

world, and a thriving democracy.

Predictions that Indonesia would disintegrate with the collapse of authoritarian rule proved unfounded due to the sweeping nature of democratic reforms and the decentralisation of power to regional governments. Many in Bali hoped that their newfound autonomy would give the island its first opportunity to steer a new future and to shift the course of development in a more sustainable direction. Unfortunately, the decentralisation of Indonesian politics led also to the devolution of the patterns of corruption that had characterised the Suharto regime. The easiest means for proliferating district governments, political parties, and aspiring politicians to fund their political aspirations was through kick-backs from issuing development permits.

Unfortunately, democratisation and regional autonomy promoted a new generation of ‘little Suhartos’ on the take.

Bali’s iconic image as a jewel in the crown of the international tourism industry tempted many of its new leaders to trade on its reputation to subsidise their political ambitions.

But of course, the tastes and desires of the travelling public are also implicated in the intense pressures facing the island.

Backpackers who travel light, live in homestays, and eat in local warungs represent only a small fraction of the tourist traffic today. Although their budgets are smaller than those who stay in five star hotels, they engage more directly with the local population, travel further afield, stay much longer, and have greater multiplier effects on the local economy than high-end visitors. Economists estimate that today some 85% of the profits from the luxury tourism sector go to non-Balinese investors. This revelation fuelled a backlash in the media, as Balinese asked themselves why Bali was being allowed to become a ‘waste basket’ (keranjang sampah) carrying the social and environmental costs of tourism development to profit others. (Bali Post 22.11.04)

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The question of whether the tourism industry will kill the goose that lays the golden egg through unrestrained development is the subject of regular commentary in the press, on talk-back radio and television, and in ordinary conversation.

Balinese are particularly irked by the string of projects planned for sacred sites across the island.

Since the Tanah Lot development, other projects were proposed, approved or simply went ahead without permits at Uluwatu, in the mountains of Bedugul, on the island of Serangan, and numerous other sites of aesthetic beauty and cultural significance.

Serangan island remains an environmental disaster that is still visible from arriving aircraft twenty years after that development project failed, after 400 hectares of land had been dredged from the surrounding seabed, destroying local fisheries and causing severe erosion along the Sanur coast. Now another proposal, this time to ‘reclaim’ eight hundred hectares from Benoa Harbour for a resort, real estate and theme park investment, has again roused Balinese opposition. The Governor of Bali has been forced by public opinion to cancel the permit-inprinciple granted to the developer, but controversy continues as the door has been left open to further ‘study’ by proponents.

In local surveys of public opinion the vast majority of Balinese polled express the view that overdevelopment is threatening

Bali’s culture and environment.

They support a moratorium on development in the tourist districts of southern Bali. As one farmer/taxi driver, himself dependent on tourists for his livelihood, commented, ‘The landscape is full of buildings, and isn’t natural any more. Once Dreamland was nice, now it’s like Kuta. In Ubud the green zones are gone. It has to be stopped.’

Another said, ‘I strongly agree there should be a moratorium.

We’ve already had enough. No more malls and hotels.’

This is not to say that there is no appreciation of the importance of tourism to the Balinese economy and local livelihoods.

Tourism revenue has been largely responsible for turning the island from among the poorest provinces in Indonesia 40 years ago into the province with the second highest per capita income in the country today. There are still, however, serious pockets of poverty, and even those Balinese on ordinary incomes find it difficult to cope with the high cost of living, especially for health and education. Increased living costs also affect the heavy ceremonial commitments of Balinese.

Land and water have become scarce commodities, threatening

rural agriculture and undermining the terraced ricefields and agrarian landscapes that are ironically both the foundation of Balinese culture and icons of the tourist industry.

In the face of these pressures, local communities and nongovernment organisations struggle to develop alternative small-scale, village based options in the hope that visitors will come to the island with a genuine interest in its arts, culture and environment, instead of sand, surf and cheap shopping.

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It is appropriate to leave some final comments on the impacts of mass tourism to Balinese directly involved in the art world.

Ida Bagus Made Poleng was one of Bali’s most important artists. His life spanned the early encounter with Western art as a member of the Pita Maha group that established Ubud as the aesthetic centre of Balinese art and culture in the 1930s. He lived to see the beginnings of the transformation of Ubud into a tourist mecca, but despite his reputation in the international art world, he reviled the commercialism and invasion of foreign values that he associated with these changes. When I chanced upon

him and a fellow villager at the crossroads to Ubud, they were criticising the latest government project to clean up the local temple and graveyard complex.

The venerable old painter launched into a scathing tirade against this, to me at first, rather unremarkable intervention. But it was clearly too much for both the artist and his compatriot. It was ‘no longer natural’ (alam), he said; it was ‘like a hotel’, it had ‘lost its aesthetic (seni) and its magical enchantment’ (angker). ‘Why do they always have to order everything for the Westerners? Can’t they leave some of it alone?’ His fellow villager, a bureaucrat in the local cultural affairs department, was clearly also in sympathy with these views. ‘It doesn’t feel like it belongs to us anymore,’ he said.

It is hoped that this exhibition, BALI: return economy, will bring the West Australian public to a deeper appreciation of the rich traditions of Bali and the serious issues facing the island.

The experience of the artists represented from both countries should set the stage for encounters of a very different kind. The works exhibited here represent encounters sought out by representatives of both

cultures, artists who have made the effort to engage in a more reciprocal relationship, and one that has clearly fostered great creativity.

— Carol Warren Associate Professor, Asian Studies, Murdoch University Included in BALI: return economy is a painting titled Balinese House Temple

by Pranoto - courtesy the collection of Carol and Jim Warren. “This iconic painting of the entry to a Balinese house temple evokes the centrality of Balinese religious traditions in everyday life. We happened upon the painting in a small artshop on Ubud’s then quiet main street in 1979, during a preliminary fieldtrip to Bali for doctoral research on community organisation and social change.” – Carol Warren

bali: return economy artists & selected works

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made aswino aji (bali) Made Aswino Aji’s artwork projects himself living between a more traditional Balinese life and contemporary culture. His works are mostly figurative, placed in a landscape that describes his ideas on emotions, community, and everyday issues on being both traditional and modern. Aji is a multifaceted artist, communicating his ideas through a variety of media including painting, sculpture, installation, murals and design.

Aji lives and works in Silakarang, Bali. He graduated from the Indonesian Institute of Art (ISI) Yogyakarta, majoring in painting.

He grew up in a family of woodcarvers and painters, immersed in an environment of art of all kinds. Recent exhibitions include his solo show Beautiful Lives at JAD Galeri Semarang in Jakarta (2011) and group shows including Indonesian Contemporary Fiber Art #1 at ArtOne Galery in Jakarta (2012), Irony in Paradise at Agung Rai Museum of Arts (ARMA) in Ubud (2013) and Jalan Monsters, a public art festival as part of the 2013 Ubud Writer’s Festival.

— Semua Sama, 2013 Acrylic on canvas 140 x 90 cm

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ketut teja astawa (bali) Ketut Teja Astawa references wayang figures and Kamasan paintings in works that are reconfigured and fragmented, and allude to epic stories like the Ramayana and Mahabarata. In Astawa’s work the characters undertake their own stories in landscapes populated by animals, kings at war and other figments of his subconscious memory. His paintings are increasingly spontaneous but steeped in the tradition of Kamasan painting from which he draws compositional elements and inspiration.

They also reference contemporary life in Bali, through the pressures of development, resource use and tourism, while interweaving these stories of living today with traditional stories. “...Teja’s work is similar to the compositional inclination in a dream world which appears all of a sudden and overlaps in a set of time, condensed with layers of various narratives. Narratives in Teja’s work are in the form of spontaneous appearing pieces of puzzles…” (I Wayan Seriyoga Parta, Fragments of Subconscious Memory, catalogue essay, 2011, Tony Raka Gallery, Ubud) Astawa lives and works in Denpasar, Bali. He graduated from the Indonesian Institute of Art (ISI), Denpasar. He has exhibited extensively, including solo exhibitions A Glimpse Back Into The Past: Early Paintings of Ketut Teja Astawa at Art Temporary Space, Jakarta (2012), Fragments of Subconscious Memory, Tony Raka Gallery, Ubud, Indonesia (2011) and Batman Forever at Sunjin Gallery, Singapore (2009). International group exhibitions include the Bank Art Fair, Hong Kong (2013) and Art Gwangju, Korea (2013), Scope Basel, at Basel, Switzerland (2011), Balinese Kunst In Geur En Kleur, Nederlands Parfumflessen Museum, the Netherlands (2009) and the 11th Beijing International Art Exposition at Beijing (2008).

Ketut Teja Astawa is represented by Tonyraka Art Gallery, Ubud, Bali.

— Sterile Environment, 2013 Acrylic on canvas 150 x 120 cm

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robert birch (nsw) Robert (Bob) Birch has a long standing relationship with Bali having travelled there on surfing and painting trips from the early 1980s.

On these trips and while surfing breaks around the island he would retreat on occasion to the hills of Ubud, sketch pad in hand, and draw and paint the scenes in front of him. The work in BALI: return economy is held in the City of Fremantle Art Collection and was painted in Penestanan, a village of artists and bead-workers on the edge of Ubud.

Birch has been a teacher, illustrator and critic. Before moving to NSW in 1996, he was Senior Education Officer at the Art Gallery of Western Australia. He is represented in numerous Australian public art collections including six works in the City of Fremantle Art Collection. Birch has had a long association with Fremantle Arts Centre as both teacher and exhibitor over a twenty-five year period from 1973 – 1997. He has exhibited at FAC on fourteen occasions, in addition to regular solo shows in Perth since 1969.

— Festival, Penestanan, 1985 Watercolour, 73.6 x 92 cm (framed) City of Fremantle Art Collection

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lucinda crimson (wa) Lucinda Crimson’s work for BALI: return economy brings together the delicacy and symbolism intrinsic to Balinese daily life with the harsh slogans sold to tourists as bumper stickers and t-shirts; while recreating the pandemonic harmony of stalls as seen in the Denpasar and Sukawati markets.

Crimson lives and works in Fremantle. She is an artist and fashion designer who works with screen-print, paint and aerosol to create highly patterned, layered and coloured clothing and artworks. She holds a Graduate Diploma in Fine Art from Edith Cowan University. In 2003 she launched the clothing label ‘Chinky Wooster’, which became an online store in 2010.

Crimson organises Tricycle pop-up shops, bringing like-minded designers and artists together in a vibrant retail gallery of interesting design. She has travelled to Bali many times over the last decade, travelling there initially for manufacturing and subsequently for holidays.

— Neon Noodles, 2013 Research image for Toko Digital photograph

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john austin campbell darling (1946-2011) Australian-born John Darling was a filmmaker, poet and academic who studied history at both Canberra and Oxford. In 1969 he began living and researching in Bali for some twenty years. Beginning in 1978 he directed, produced and researched nine documentary films about Indonesia that have been screened internationally.

They include Lempad of Bali, Master of the Shadows, the three-part Bali Triptych series on Balinese culture, Bali Hash, Below the Wind and after the 2002 Bali bombings he co-produced with his wife Sara, The Healing of Bali. Darling also wrote books and poetry on Bali.

The award-winning film Lempad of Bali was screened on ABC-TV and internationally and tells the life of the 116 year old Master Artist I Gusti Nyoman Lempad. Master of the Shadows is the story of Dalang Made Sija, a widower with six children, who is dedicated to keeping alive his ancient Hindu religion and culture through traditional shadow puppetry. The Healing of Bali looks at the aftermath of the tragic events of 12 October, 2002, from the Balinese point of view.

During the 1990s Darling was a lecturer in Media Studies at Murdoch University and later a Visiting Fellow at the Australian National University and Monash University. He died in Perth in 2011.

Duncan Graham wrote Darling’s Obituary published in The Jakarta Post in January 2012. He wrote “John was a peaceful man who promoted harmony. He related to everyone, from priests to farmers. His films have helped make Indonesia accessible to the world, particularly Australians”.

The John Darling Fellowship commenced in 2013 and supports young and emerging Indonesian filmmakers.

— Cover of Lempad of Bali Image copyright Sara Darling

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nyoman erawan (bali) Over the past thirty years Nyoman Erawan has constantly challenged the zone between traditional and contemporary, immersing his practice in the ambiguous area of the binary of old and new. His work often tackles themes of destruction and resurrection, death and life, chaos and order, tradition and modernity. His awareness of the possibilities that exist between these binaries creates a reality in his work that is entwined rather than in opposition. Erawan is a multidisciplinary artist whose work crosses painting, drawing, installation and performance.

Erawan lives and works in Sukawati, Bali. He graduated from the Indonesian College of Fine Arts (STSRI, Sekolah Tinggi Seni Rupa Indonesia) in Yogyakarta, Java. He is a well respected and involved member of the Balinese art community who has exhibited extensively with multiple group exhibitions, including: The First Asia-Pacific of Contemporary Art at Queensland Triennial Gallery, Beyond: The Limit and Its Challenges, Jakarta Biennale XII, (2005) and Bali-Jeju (Korea): Vice Versa (2013) and Jiwa Ketok dan Kebangsaan (2013), both at the National Gallery in Jakarta. Recent solo exhibitions include Archetype: re-reading Nyoman Erawan at Komaneka Fine Art Gallery, Ubud (2013) and Action & (Re)action for Bali ACT (Art, Culture & Tradition) at Agung Rai Museum of Art, Bali (2013).

— Wajahku, 2012 Mixed media 28 x 35 x 25cm

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john fawcett (lives and works in bali) John Fawcett was born in Perth, training in ceramics in Perth in the 1950s before heading to the Central College of Art in London in 1961. Upon his return to Perth he lived and worked in Roleystone, WA, and became head of the Department of Art and Design at Perth Technical College in 1972. His ceramic work included large scale firing, inspired by visits to Crete, throwing huge forms in one piece of stoneware and producing pots over one metre in size. His work is held in many private and public collections.

In May 1981 Fawcett underwent back surgery, but a disastrous medical accident saw him confined to hospital for the next 34 months, forcing him to retire from his lecturing and to cease all ceramics. Following this ordeal Fawcett moved to Bali in 1985 to centre his recovery and began establishing clinics to treat diseases of the eye, palate and chest.

The John Fawcett Foundation has now been doing free cataract surgery throughout Indonesia since 1991 and has successfully restored sight to over 35,000 people, (see balieye.org). In 2005, The Age newspaper in Melbourne listed Fawcett as one of 50 Australians who have made a difference in the world. Water from the Moon: a biography of John Fawcett by Scott Bevan was published in 1999 by Fremantle Press.

— Urn, c 1981 Wax resist decoration with eutectic effect, feldspathic glaze with ash and fluxin 32 x 18cm Edith Cowan University collection

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kerry pendergrast (1963-2013, lived and worked in bali from 1993) Kerry Pendergrast liked to work en plain air, she enjoyed “the experience of sitting in front of a scene, capturing the light and feeling an interaction that is immediate and fresh in her work”.

Her work reflects her love of life in Bali, the lushness of the countryside, and the delicate patterns and textiles of Indonesia that fascinated her as an artist.

Unusually her pastels are drawn onto industrial sandpaper, used off the roll. Pendergrast drew the landscapes of Bali, which have been under enormous stress from tourism and development, for more than ten years. This gave her a sense of the transient nature of the scenes she was expressing, as well as an interaction with a respect for the farmer and the cycles of the labour intensive rice crop.

Her frequent visits to Perth and her forays into the landscapes of her “other” home environment cross referenced the way people shape their surroundings, whether it was rice growing in Bali or grape vines in WA as in the piece Stirling Ranges from this exhibition.

Pendergrast was born in Perth. She held a Bachelor of Arts in Theatre Arts and Literature from Curtin University. She moved to Bali in 1993 and lived and worked in Ubud, where she managed Pranoto’ s Gallery with her husband, where they have hosted many exhibitions and regular drawing and painting sessions.

Pendergrast had her first exhibition at Seniwati Gallery, Ubud in 1998 and exhibited regularly in Indonesia and Australia.

Pendergrast also exhibited and worked closely with Nyoman Sani with the Seniwati Women’s Gallery, now called Seniwati Artspace.

— Harvest View from My Window, 2011 Soft pastel on sand paper 60 x 75 cm

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jango pramartha (bali) Jango Pramartha is a respected cartoonist living and working in Denpasar. His work is political and satirical and interested in ideas of environment, development and the intersection of traditional and contemporary culture in Bali. He is very involved in the Indonesian cartoon community and since 2005 he has been the President of the Indonesian Cartoonist Association and a contributor to the Jakarta Post since 2004. More locally to Bali he has been a contributor to the Bali Post since 1991 and for the Daily Morning Nusa Dua since 2012.

Bog-Bog Bali Cartoon Magazine was created in 2001 and since 2003 Jango has been the Business Director. Alongside cartoon books, Bob-Bog also produces merchandise which sells from their shop in Denpasar. In 1994 Jango showed in Bali Sing Ken-Ken !? (Bali No Problems!?) at Fremantle Arts Centre and Murdoch University.

Jango is a graduate of University of Udayana’s Fine Arts Department. He later attended Murdoch University in Perth, Australia. He has created CD covers, illustrations for poems, short stories and books including Being Modern in Bali by Adrian Vickers and Staying Local in the Global Village by Linda Connors.

He has exhibited extensively both in Indonesia and internationally including: Crossing Boundaries, AustralAsia Center, University of Melbourne (2000), Australian Road Show International Cartoon Exhibition Bali is my life, Sydney, Melbourne, Brisbane (2006), HIVAIDS International Cartoon Exhibition for ICAAP (International Conference AIDS Asia-Pacific), Westin Hotel Nusa Dua, Bali (2009), Cartoon Exhibition 10th Anniversary of Bog-Bog Bali (Cartoon Magazine) Antida Studio, Bali (2011), GloBALIsm, MayyaArt Gallery, Frankfurt, Germany (2013).

— Australia Today, 2013 Watercolour on paper 75 x 55 cm

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pranoto (lives and works in bali) Pranoto has always enjoyed experimenting with different techniques and media, constantly adding new skills to his repertoire. Pranoto’s work reflects his colour sensitivity and passion to capture the presentation of light, which creates a luminous glow to his figures. His work reflects a romantic idealism, steeped in Modernism but also drawing on the rich and textured history of the Indonesian archipelago. He has experimented with tinted plaster on ceramic, pastel on sandpaper and pastel paper, as well as oil paint on sandpaper, which provides a rich texture to work on and a dark ground. Currently he is working in charcoal on paper and acrylic and marble dust on canvas.

Pranoto was born in a small village outside Solo, Central Java.

He was driven to be an artist from an early age, so he moved to Ubud, Bali in 1974 to pursue his dream. He changed course from his background in batik to be a painter. He has participated in solo and group exhibitions throughout Indonesia and Australia including in 2011, when an exhibition of 80 charcoal drawings and 20 acrylic paintings was held in Gallery East and Midland Junction Arts Centre in Perth, Western Australia.

As an “early arrival” in Bali, he has been a support to many artists settling there, providing advice and guidance. Over the years he has collected his friends’ work, which is what led to the establishment of Pranoto’s Art Gallery in 1996 with his wife Kerry Pendergrast.

Pranoto exhibits his own work here but also holds solo and group exhibitions and runs model sessions twice a week. Pranoto’s Art Gallery has been host to many exhibitions over the years. These have included early work by Suklu in a show with the abstract artist Djoko KS called Dual Fire and Small2 a group show of small scale work. Nyoman Sani was in an exhibition at the gallery called Painters in Pairs about husband and wife artists, as well as Small2.

These shows were held over a period from 1999 to 2001.

— The Meeting, 2013 Acrylic on canvas 100 x 100 cm

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ni nyoman sani (bali) Ni Nyoman Sani grew up in Sanur amongst fashion stores and tourist shops. Her subject matter focuses on women and her work crosses boundaries of painting, drawing, photography, textiles and fashion design. Her work is influenced by the fashion that has been a central part of her life for so long. Sani’s work for BALI: return economy includes a painting which references her life in Sanur and her observations of the relationship between Balinese women and the fashions that surround them. The installation also includes two outfits and a pair of high-heeled shoes with portraits of women on them.

In 1993 Sani worked in a garment shop with her sister before entering the Art Academy STSI in Denpasar (now Indonesian Institute of Art: ISI) from which she graduated in 2001. She has exhibited extensively throughout Indonesia and internationally with exhibitions in Bali, Jakarta, Singapore, Australia, Italy, Germany, the Netherlands and China including the Shanghai Art Fair (2007), Perempuan di Curiocity, Nafa Me Fashion Gallery in Singapore (2008), and Charity for Women in Modena Italy (2009).

She has also held fashion and photography shows including Hero Inspired Enigma at Gaya Fusion, Ubud (2012). She undertook an artist in residence in Haarlem, The Netherlands in 2009 and her work was published in the recent survey of Balinese art by Adrian Vickers: Balinese Art: Paintings and Drawings of Bali 1800 – 2010.

Sani has recently taken over as Director of Seniwati Artspace which supports the women artists of Bali through social art projects (Seni is Indonesian for Art and Wati means women). Her connections with Australia include a recent residency at Burra, South Australia (2013), through her role as Director of Seniwati Artspace. The five week long residency led to an exhibition titled Seniwati Art by Women at the Burra Regional Art Gallery.

— Sweet, 2013 Oil on canvas 180 x 160 cm

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annette seeman (wa) Tiger Tales visualizes the fact and fiction of getting to know a place (Bali) through another’s telling. Annette Seeman’s father’s family moved to Indonesia for the spice trades where they stayed, intermarried, traded and over the centuries became people of the Indies. The family took holidays on land they owned in Blimbingsari near the West Coast of Bali. In 1932 whilst on the annual family holiday Seeman’s father went on his first tiger hunt at age ten. In his retelling of this event, and of many others that occurred on the island of Bali, he brought that time and place into her life as a space for dreams and imaginings. An almost white child living in Geelong in the 1950’s could conjure a sense of belonging out of the surreal otherness read between the lines of her father’s memories of home. Trans-cultural identities floated to better places to be.

Many years later when she became the parent of a small boy child and lived for a time in Bali, Seeman made some objects with other Balinese. Over two months in Sebatu village they carved a set of figures based on her drawings and half understood conversations. The basic form of the figures emerged from drawings and the collective shaping of hands, ideas and friendships. Eventually sent to Fremantle in 1991 to be completed with her father, the figures were characters cut out of their collective Indies conversations and stood as guardians of a lost culture and a fragmented people that would continue through the generations.

Seeman is an artist and Senior Lecturer in the Faculty of Humanities at Curtin University Western Australia. Seeman has exhibited extensively in Australia since 1982 and internationally in New Zealand, Cambodia, Thailand, Japan, Indonesia, Malaysia and Spain.

Her work is represented in Australian state and regional galleries and numerous public and private collections both nationally and internationally. Seeman has participated in artist in residence programmes in Australia, Spain, Indonesia and Malaysia and has been a Visiting Fellow in both Malaysia and Indonesia. She has served on numerous arts advisory boards. Her book The Domestic Muse: male artists reflect on private spaces was published in 2009.

Seeman’s sculptures courtesy of the City of Fremantle Art Collection. These figures were exhibited in Dreams, a 1992 Festival of Perth exhibition curated by Andra Kins and shown at Fremantle Art Centre.

— Stories from the Indies X - Older Guardian, 1991-92 Wood, oil paint, graphite, wax 187 x 73 x 32cm

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seniman industries (bali) ‘Imagine You Know What You’re Doing’ Seniman Industries was founded in 2010 with the sole purpose to design and implement ground-breaking creative ideas, innovations and experiences.

David Sullivan, Co-founder Seniman Industries Sullivan’s early interest in youth culture saw him cool hunting for Levi Strauss – developing insights from trends in music, fashion, design and lifestyle. This passion led him into a career in advertising and brand development covering both agency and client-side global leadership roles for companies such as Electronic Arts, PlayStation, Levi’s, P&G and Orange. He has lived and worked in Europe, North America and Asia.

Rodney Glick, Co-founder Seniman Industries Glick is a contemporary artist with a wide-ranging practice, encompassing the fields of furniture design architecture, film sculpture, photography and publications. He has exhibited widely across Australia and internationally. He has undertaken residencies in Yogyakarta, Kent, New York, Seoul, Taipei and Basel, has had major solo museum retrospectives and been included in the contemporary art Biennials of Sydney, Havana and São Paulo.

Glick has for many years been listed amongst Australia’s top 50 most collectable contemporary artists with artworks in such collections as the Australian National Gallery, Sydney’s Museum of Contemporary Art, the Art Gallery of Western Australia, universities and private collections. He has completed numerous large-scale public art projects and designed or built houses both in Australia and Indonesia with a focus on environmental sustainability.

— Imagine, 2013 Digital photograph

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i wayan sujana suklu (bali) & paul trinidad (wa) In September 2012 Suklu was in Perth, as Artist in Residence in the ISACFA (International Studio for Art and Culture) cultural exchange program between FSRD (Faculty Seni Rupah dan Dessain) ISI Denpasar and ALVA (Architecture Landscape and Visual Arts) University of Western Australia, Perth. Suklu encouraged Paul Trinidad’s explorations of the subconscious mind through drawing and working on projects together. They worked together in Ancient Rock Studio (ARS), Byford to develop the nucleus of a deeper exploration.

The corner stone of Suklu’s philosophy is the belief that if one is in harmony with life, only good can come from it. This is especially so for his art practice – which is based on the principles that great art will come from spontaneous action. Action connects directly from the subconscious to reality using drawing as the matrix.

Trinidad experienced a similar state around 20 years ago with the Serious Ink Men project. This was a graphic project which culminated with a performative exhibition at Fremantle Arts Centre (FAC) in 1992.

In this project Trinidad created around 1000 spontaneously drawn printing plates and blocks, many of

which were printed in FAC during the exhibition. The work in BALI: return economy is for Trinidad a direct response to the yearnings of the Ink Men project and the working connection that the artist made with Suklu in September, 2012, through until July, 2013.

The work in BALI: return economy is from the collaborative exhibition between Suklu and Trinidad, held in two configurations at Cullity Gallery at UWA (titled Matrix II Origins works on paper Broken Rock + Ancient Rock) and Sudakara Artspace, Sanur, Bali (titled MATRIX two(o)rigins) (2013).

Suklu works across performance, paintings, drawing and installation, he has exhibited extensively across Indonesia and internationally including Singapore, Australia, Hong Kong and the 2008 Beijing Biennale. Recent solo shows include The Unseen Things, Komaneka Fine Art Gallery, Ubud, Bali (2012) and recent selected group shows include MelihatDilihat, Galeri Nasional, Jakarta, Bank Art Fair, Sangrila Islands, Hong Kong and Collective Asia, Luxe Art Museum, Singapore.

Suklu established the BatuBelah Art Space (BBAS) in Klungkung, Bali in 2007.

Trinidad is Assistant Professor, Visual Arts, University of Western Australia and an honorary Lecturer at ISI, Denpasar. He is a cross-disciplinary artist with an extensive exhibiting history.

Recent exhibitions include: Truly Bagus II Harmony in Diversity, Cullity Gallery, ALVA and The Nature on Art, Gaya Art Space, Ubud, Bali. His work is held in numerous public and private collections both nationally and internationally.

— Paul Trinidad Krakatoa Graphic Novel 1, 2013 Ink and charcoal drawing in novel 23 x 15 cm I Wayan Sujana Suklu Le Rouge et le Noir, 2013 Ink and charcoal drawing in novel 23 x 15cm

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john teschendorff (wa) Being introduced to Indonesia by Annette Seeman and to stories from a four hundred year family history of life in the Indies was a revelation. Building two villas with Chris and Mary Hill and Ida Bagus Tantra in what was then jungle at Nyuh Kuning Ubud in 1988 provided a base for contemplation, discovery and interaction with a unique sophisticated culture. Whilst much has changed during the past twenty five years, overwhelmed, destroyed by countless hoards of western tourists the essential Bali still prevails.

These drawings, from the series Tales of Life & Death 1990-1992 are reflective musings on conception and birth and were made in Nyuh Kuning, Ubud, Bali and Fremantle, WA between 1990 and 1992. The images are influenced by aspects of Balinese spirituality, by the so called primitive style wood carving from the Sebatu area (near Ubud Bali) and by a specific Egyptian Book of the Dead known as Papyrus 3024. The series was exhibited for the first time at Galerie Dusseldorf July/August 2012.

John Teschendorff was born in Melbourne and now lives and works in Fremantle. He was Head of the Curtin University School of Art 1987-1995 and in 2008 received the Australian Council of University Art and Design Schools Distinguished Teaching Award for his lifetime contribution to visual arts education and administration in Australia and South East Asia. He has held solo exhibitions in Melbourne, Sydney, Newcastle (NSW) Perth (WA) and Oxford (UK) and has participated in numerous national and international group exhibitions, representing Australia at the XXXVI Concorso Internazionale Della Ceramic D’Arte, Faenza, Italy (1978) and in Contemporary Australian Ceramics at the Smithsonian Institute, Washington, USA (1981). His work is represented in numerous private and public collections both nationally and internationally including the National Gallery of Australia, National Gallery of Victoria and the Art Gallery of Western Australia.

— Tales of Life & Death: Canto XV (ABOVE IS EXALTED BY BELOW) (DETAIL), 1991-92 Pencil, chalk, charcoal, oil stick & acrylic on Lana pur fil 280 gsm paper 74 x 108 cm Private Collection, Perth, WA

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wayan upadana (bali) For Wayan Upadana, art is both a process and a result of that process. His work is a critique of society and the natural environment, and his work explores social and cultural issues, particularly as they relate to Balinese life.

His art work is inspired by materials that can melt, such as ice, chocolate and dew. He combines organic shapes with human, animal and plant forms and with other objects that are used in everyday life, such as sinks, tap water, wheels, guitars, laptops, and other modern objects that can inspire his imagination and expression of ideas.

There is an emphasis on the tactile and the impression generated by the artwork. In this case, he is more concerned with the achievement of emotional values, such as a sense of excitement, sadness or humour. “…beauty belongs only to the universe. We as humans just want to find specks of uniqueness that lie behind His beauty.

Nothing can beat the beauty of a sunrise, rain, rainbows, sunsets and the sky as a canvas that never stops to seek its own beauty.” (Wayan Upudana) Recent selected exhibitions include the solo exhibition: Glo-Bali-Sasion, Uluwatu hand made and lace, Sanur, Bali (2012) and group exhibitions: Plastic Attack with G-five at Tony Raka Art Gallery, Ubud, Bali (2013), Irony in Paradise, SDI Bali, Arma Museum, Bali (2013), BLACKBOX with G-five at Danes Art Veranda Bali (2012), and the 2011 Jakarta Biennale #14, Maximum City at Galeri Nasional Jakarta.

— Couple in Paradise, 2013 Polyester resin, car paint 33 x 33 x 18 cm

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toni wilkinson (wa) As a tourist in Bali, Toni Wilkinson became fascinated with how West Australians holidayed on the island and at first set out to capture this phenomenon. Nevertheless, after a visit to the Bintang Shopping Center in Seminyak, a one-stop shop for Westerners in Bali, Wilkinson became captivated with the tourist knick-knacks for sale in the store. In particular, a cluster of souvenir dolls labeled “Balinese Boy Indonesia” caught her eye; the dolls are manufactured in the image of the ‘Western boy’ rather than representing Balinese features. Like Wilkinson’s portraits of people, this series of five images titled Balinese Boy from the Bintang Shopping Center raises questions about cultural, social, political and sexual identity. Furthermore these photographs create a dialogue regarding the ‘return economy’ of the tourism industry and how Westerners are being sold back to themselves off the shelves in the aisles of the shopping centre.

Wilkinson is Photography Lecturer at the School of Design and Art, Faculty of Humanities, Curtin University. She holds a Doctor of Philosophy from Edith Cowan University. She has exhibited widely across Australia and internationally including selected recent solo exhibitions: Uncertain Surrenders, Perth Centre for Photography (2013) and City of Perth Photography Commission, Council House (2012) and group exhibitions: Inheritance, Australian Centre of Photography (2009), Transient States, Lawrence Wilson Gallery, UWA (2009), Pingyao Photography Festival, China (2009), The Beautiful South, Claska The 8th Gallery, Tokyo (2011), Photoquai Biennale, Musee Du Quai Branly, Paris (2013). Publications include: Perception: the Daryl Hewson Photographic Collection and Photofile#70, as well as contributions to The West Australian, NME, Melody Maker, Rolling Stone Magazine, Melbourne Magazine, MX Melbourne, Q Magazine, HQ Magazine, In Press, The Sunday Times.

— Balinese Boy from the Bintang Shopping Center (#1), 2013 Giclee print 100 x 75cm

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i wayan bendi and gusti i gusti putu putra jaya (bali) From the collection of The Bernadt Family (WA)

On a trip to visit their son Tim who was living in Bali, Ian and Sue Bernadt went to the Neka Museum in Ubud and were impressed by an unusual painting they saw by Batuan artist I Wayan Bendi.

Having returned to their hotel at the coast and forgotten the name of the artist it was only through repeated requests for “the artist who did paintings with helicopters” that they eventually ended up at I Wayan Bendi’s studio and gallery in Batuan. They made friends with the artist and ended up buying what is surely now one of the largest and most significant Balinese paintings in Australia.

Born in 1950, I Wayan Bendi is from Batuan, a village between Ubud and Denpasar famous for its artists. Bendi uses traditional techniques which he learned from his father, who was also a painter, but he broke with tradition by incorporating historical scenes in his work and including images of tourists and contemporary life. The large painting Twin Towers, is one of a series of works he made depicting the 9/11 terrorist attacks but in a Balinese setting.

Tim and his friends would stop for babi guling (spit roast pig) on their way back from surfing so it seemed appropriate to have his surfboard decorated so that it looked like a sign you would see outside a warung selling this most famous of Balinese dishes.

I Gusti Putu Putra Jaya, Chook to his friends, was born in Legian in 1961. A keen surfer himself when he was younger, he is now well known amongst the surfing community for his creative customising of surfboards.

— I Wayan Bendi Surfing, date unknown Ink and acrylic on canvas 100 x 70cm Collection of The Bernadt Family Photo: Christine Tomas

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mangku ketut liyer and dewa putu mokoh (bali) From the collection of Chris and Mary Hill (WA)

In 1998, when he was getting bored with exporting handicrafts from Bali to Fremantle, and was going off the idea of building a hotel in North Bali, Chris Hill started to make friends with some of the traditional painters from Pengosekan, a village just outside Ubud in central Bali. He started collecting their work and was soon inspired to undertake formal study at Murdoch University where his Masters thesis was on the history and development of Balinese village painters. His book Survival and change: three generations of Balinese painters was subsequently published by the Australian National University.

Included in Bali: return economy are works from Chris and Mary’s collection by Mangku Ketut Liyer and Dewa Putu Mokoh, both from Pengosekan. Liyer, now approaching 90, is perhaps the last remaining great painter from the pre-war era. As well as being a fine painter Liyer is also a pemangku (village priest) and a balian (traditional healer). He has become famous in recent years after Elizabeth Gilbert featured him (without mentioning his work as a painter) in her book Eat Pray Love.

Mokoh, who was a close neighbour of Liyer, died aged 76 in 2010. He liked to paint intimate scenes from everyday life, often including references to aspects of Hindu religion. He was a traditional painter but his work has a contemporary edge.

The most recent exhibition of his work was at Kendra Gallery in Seminyak where a selection of his work was included in a joint show with Ketut Teja Astawa, a contemporary artist also represented in Bali: return economy.

— Mangku Ketut Liyer Tunggu taksu (Waiting for inspiration) c. 2000 Ink and acrylic on canvas 98 x 67cm Collection of Chris and Mary Hill Photo: Bo Wong

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mangku muriarti, i kadek nata & i nyoman tresna (bali) Kamasan paintings from the collection of John Johnson (WA)

As a painter Johnson became, on his many visits to Bali, interested not in the contemporary school of Balinese art but in the traditional painters (Pelukis Klasik). Johnson has always referred to them as painters – which is what they call themselves, not artists.

He was invited to stay in the village and it was during that time he began an ongoing friendship with the families that had, over the years, continued the skills and knowledge of these sacred paintings which has been passed down to the present day.

He also became a collector of these sacred paintings and from this ongoing connection and his experience with these Kamasan families a book began to emerge and he is currently working on a publication that will be published in the near future.

Mangku Muriarti (Ni Nengah Muriati) was born in 1966 and lives in Banjar Siku. She studied painting, first as a colourist for her father then later at Udayana University where she became more interested in contemporary art. Her father convinced her to become a painter in the Klasik Wayang style. Before his death he asked his daughter to take over from him the role of Mangku: the village priest for Banjar Siku. She obeyed her father’s wishes and became a Mangku.

I Nyoman Tresna, 1942–2008, lived in Banjar Sangging. His father was a silversmith. Nyoman became a painter in the 1960s and studied and developed an understanding of the Klasik stories from a number of older painters who lived close by in Banjar Sangging.

I Kadek Nata was born in 1959 and lives in Banjar Sangging: His principal teacher was I Nyoman Mandra.

— Mangku Muriarti MAHABHARATA STORY - GUGUR DURYODANA (DETAIL), 2006 Ider Ider, Water based pigments both natural and commercial, Cloth prepared with a rice paste (tepung) and burnished with a cowrie shell (krang) to seal the surface before drawing, painting and finishing the work 750 x 34cm Collection of John Johnson

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list of works

Made Aswino Aji

Lucinda Crimson

Abu-abu, 2013 Acrylic on canvas 140 x 90cm

Bakso, 2014 Enamel wall painting 150 x 150cm approx

Semua Sama, 2013 Acrylic on canvas 140 x 90cm

Toko, 2014 Mixed media Dimensions variable

Ketut Teja Astawa

Kekasang, 2013 Synthetic fabric and vinyl Each component 15 x 15cm

Sterile Environment, 2013 Acrylic on canvas 150 x 120cm Ketut Teja Astawa is represented by the Tonyraka Art Gallery, Ubud, Bali

I Wayan Bendi Twin Towers, 2001 Ink and acrylic on canvas 300 x 150cm Collection of The Bernadt Family

Surfing, date unknown Ink and acrylic on canvas 100 x 70cm Collection of The Bernadt Family

Robert Birch Festival, Penestanan, 1985 Watercolour on paper 73.6 x 92cm (framed) City of Fremantle Art Collection

John Austin Campbell Darling Lempad of Bali, 1980 DVD, Running time 56 minutes Directed by John Darling and Lorne Blair Produced by John Darling Master of the Shadows: a Balinese Puppeteer, 1984 (episode 5 of Human Face of Indonesia) DVD, Running time 23 minutes Directed by John Darling Produced by Rob McAuley The Healing of Bali, 2003 DVD, Running time 52 minutes Directed by John Darling Produced by John Darling and Sara Darling All films shown courtesy of Sara Darling

Wayang kulit puppets Dimensions variable acquired by John Darling during his time in Bali.

I Gusti Putu Putra Jaya

Nyoman Erawan

Collection of The Bernadt Family

Archetype: Rebirth in Various Tones #00, 2013 Watercolour on paper 55 x 75cm

Mangku Ketut Liyer

Archetype: Rebirth in Various Tones #37, 2013 Watercolour on paper 55 x 37cm

Tunggu taksu (Waiting for inspiration), c. 2000 Ink and acrylic on canvas 98 x 67cm Collection of Chris and Mary Hill

Dewa Putu Mokoh

Wajahku, 2012 Mixed media 28 x 35 x 25cm

Bom Bali, 2006 Ink and acrylic on canvas 60 x 80cm

Video Process, Archetype: from Destruction to Appropriation, 2013 DVD, Running time 19 minutes

Collection of Chris and Mary Hill

John Fawcett Bottles #2, c. 1981 Feldspathic glaze with a wax resist dip into an ash 33 x 34cm Edith Cowan University Art Collection

Urn, c. 1981 Wax resist decoration with eutectic effect, feldspathic glaze with ash and fluxin 32 x 18cm Edith Cowan University Art Collection

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Babi guling, 2008 Acrylic on surfboard 48 x 213cm

Boy trying to study, 1995 Ink and acrylic on canvas 50 x 35cm Collection of Chris and Mary Hill

Couple resting, 1995 Ink and acrylic on canvas 60 x 70cm Collection of Chris and Mary Hill

The Antique Shop, 1991 Ink and acrylic on canvas 80 x 60cm Collection of Chris and Mary Hill

Boy learning to swim, 1995 Ink and acrylic on canvas 38 x 55cm Collection of Chris and Mary Hill

Childrens’ Barong, 1995 Ink and acrylic on canvas 51 x 70cm Collection of Chris and Mary Hill

Tired artist with friend, 1992 Ink and acrylic on canvas 45 x 55cm Collection of Chris and Mary Hill

Mangku Muriarti Mahabharata Story – Gugur Duryodana, 2006 Ider Ider, water based pigments both natural and commercial.

Cloth prepared with a rice paste (tepung) and burnished with a cowrie shell (kerang) to seal the surface before drawing, painting and finishing the work 750 x 34cm Collection of John Johnson

I Kadek Nata Mahabharata Story - Mandara Giri, 2006 Tabing, water based pigments both natural and commercial, cloth prepared with rice paste (tepung) and burnished with a cowrie shell (kerang) to seal the surface before drawing, painting and finishing the work 150 x 140cm Collection of John Johnson

Kerry Pendergrast

Pranoto

Harvest View from My Window, 2011 Soft pastel on sandpaper 60 x 75cm

The Meeting, 2013 Acrylic on canvas 100 x 100cm

Stirling Ranges, 2011 Soft pastel on sandpaper 60 x 75cm

Balinese House Temple, 1977 Watercolour on paper 99 x 78cm (framed) Collection of Carol and Jim Warren

Blimbingsari Bali, 1932 Photographic print 60 x 106cm Dad (Tom) Fremantle, 1991 Photographic print 21 x 30cm Daughter (Annette) Fremantle, 1991 photographic print 21 x 30cm

Jango Pramartha

Ni Nyoman Sani

Australia Today, 2013 Watercolour on paper 75 x 55cm

Tea Gown (Silent Sound), 2012 Polyester and cotton torso

Sebatu, 1991 Photographic print 30 x 43cm

Bohemian Style (Inspired from Lamak), 2013 Cotton and mix panels

Seniman Industries

Balinese woman, 2013 Watercolour on paper 55 x 75cm Glo-BALI-zation, 2013 Watercolour on paper 55 x 75cm Humour and Politic, 2013 Watercolour on paper 55 x 75cm Soccer in Paradise, 2013 Watercolour on paper 75 x 55cm The Sacred Island 2013 Watercolour on paper 55 x 75cm Tourism Development, 2013 Watercolour on paper 75 x55cm

Sweet, 2013 Oil on canvas 180 x 160cm Ankle, 2013 Ankle leather boots with acrylic paint Annette Seeman Tiger Tales: Stories from the Indies VI Madonna, 1991-2 Wood, oil paint, graphite, wax 192 x 76 x 24cm City of Fremantle Art Collection

Stories from the Indies X Older Guardian, 1991-2 Wood, oil paint, graphite, wax 187 x 73 x 32cm City of Fremantle Art Collection

(co-founders Rodney Glick and David Sullivan) Reading Room, 2013 Mixed media installation: coffee book, vinyl, 3 x rocking chairs (80 x 60 x 55cm), 1 x carved wooden stool (48 x 35 x 35cm) I Wayan Sujana Suklu and Paul Trinidad Matrix II Origins – Broken Rock + Ancient Rock, 2013 Mixed media installation: charcoal and ink on novels/paper dimensions variable

John Teschendorff

I Nyoman Tresna

Toni Wilkinson

Tales of Life & Death: Canto XIV (united we shall form the abode), 1991 Pencil, chalk, charcoal, oil stick and acrylic on Lana pur fil 280gsm paper 74 x 108cm

Goddess Saraswati, 2006 Langse, water based pigments both natural and commercial, cloth prepared with rice paste (tepung) and burnished with a cowrie shell (kerang) to seal the surface before drawing, painting and finishing the work 141 x 90cm

Balinese Boy from the Bintang Shopping Center (#1-5), 2013 Giclee print 100 x 75cm

Private collection, Perth, WA

Tales of Life & Death: Canto XV (Above is exalted below), 1991-2 Pencil, chalk, charcoal, oil stick and acrylic on Lana pur fil 280gsm paper 74 x 108cm Private collection, Perth, WA

Seated Figure, purchased 1989 Wood carving Sebatu, Ubud, Bali, artist unknown 43 x 12 x12cm Collection of John Teschendorff and Annette Seeman

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Collection of John Johnson

Wayan Upadana Globabisasi, 2013 Resin, car paint, water tap 48 x 48 x 35cm Couple in Paradise, 2013 Polyester resin, car paint 33 x 33 x 18cm Ogoth-Ogoh, 2014 Polystyrene, acrylic paint 220 x 120 x 60

Aussie Girls in Bali, 2013 Giclee print 75 x 100cm

bali: return economy Curator’s acknowledgements Chris Hill and Dr. Ric Spencer would like to personally thank Desak Dharmayanti for all her help and the many, many hours of her time spent organising the Bali end of the project. This exhibition would not have been possible without her patience and understanding.

We would also like to thank Rodney Glick for his consultancy, assistance and support of this project. Also thank you to the public and private collections for their generous loaning of work, including the Edith Cowan University Art Collection, the City of Fremantle Art Collection, the Bernadt family, John Johnson and Sara Darling. Many thanks also to A.A Bagus Tony Hartawan for his time and positive response to the project and the Tonyraka Art Gallery for lending the work of Ketut Teja Astawa. Many thanks too to Carol Warren for the lending of Pranoto’s work and also for her lucid and informative essay and also to Paul Trinidad for his help and consultancy. Thanks to the exhibition team at FAC led by Erin Coates and finally and most importantly the curators would like to thank all the artists for their involvement and enthusiasm toward the project and for being a part of BALI: return economy.

Fremantle Arts Centre 1 February - 27 March 2014 Curated by Ric Spencer and Chris Hill

Fremantle Arts Centre’s acknowledgements Fremantle Arts Centre would like to express our sincere gratitude to Chris Hill for his generous enthusiasm and support of this project. BALI: return economy would not have been possible without his initial interest toward the project and his ongoing commitment, expertise and understanding in developing the exhibition. It has been an education for all at FAC who have worked with Chris on this project. Thanks also to Chris and Mary for the generous loan of works from their collection.

FAC would like to thank the WA Consulate of the Republic of Indonesia and Balai Bahasa Indonesia Perth and in particular Karen Bailey and Syahri Sakidin for their support of this project. FAC would also like to thank those who loaned work for this project and the Department of Culture and the Arts for their ongoing support.

Fremantle Arts Centre is supported by the State Government through the Department of Culture and the Arts.

Credits All works courtesy of the artists.

Ketut Teja Astawa’s work courtesy the artist and Tonyraka Art Gallery.

I Wayan Bendi’s and I Gusti Putu Putra Jaya’s work courtesy of The Bernadt Family collection. Robert Birch’s work courtesy of the City of Fremantle Art Collection. John Darling’s films courtesy of Sara Darling. John Fawcett’s work courtesy of Edith Cowan University Art Collection. Mangku Muriarti’s, I Kadek Nata’s and I Nyoman Tresna’s work courtesy of John Johnson.

Mangku Ketut Lieyer’s and Dewa Putu Mokoh’s work courtesy of Chris and Mary Hill ISBN 978-0-9872930-3-9 Design by Ash Pederick Printing by Vanguard Press ©2014 Fremantle Arts Centre and the Artists Fremantle Arts Centre 1 Finnerty St Fremantle Fremantle WA 6160 Australia www.fac.org.au

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In Memory of Kerry Pendergrast

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