PRINTPROVENANCE:
Christie's Hong Kong, Southeast and Asian Modern and Contemporary Art, May 28, 2008, lot 046
Christie's Hong Kong, Southeast and Asian Modern and Contemporary Art, May 28, 2008, lot 046
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Tiga Petani (Three Farmers)
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2000 Pencil, acrylic and oil collage on canvas 200 x 145 cm
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Estimate
200,000 - 300,000 51,000 - 77,000 6,600 - 9,900
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Sold Price
264,000 68,394 8,771
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Inquiry
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Catalogue Note:
TIGA PETANI
PANDE KETUT TAMAN
Pande Ketut Taman was born in Peliatan, Bali into an artistic family in 1970. A child prodigy, he previously studied art at the Indonesian Institute of the Arts. The artist observes the world around him with a particularly acute perception, and has always been skilled in using stunningly intriguing novel perceptions to interpret the many facts and facets of everyday life. Later on, he moved with his wife and family to a small town in Muntilan where he bathed in the encompassing serenity of the ancient temples and rejoiced in the fiery flames of the volcanoes in the distance. This environment, home to both tranquility and motion, gradually imbued the works of Taman with veneration for nature.
Since the advent of the Art Nouveau movement in Indonesia (1974-1979), a wide range of artistic languages and expressions have been developed within the realm of Indonesian art. Pande Ketut Taman is extremely innovative in terms of interpretation and perception; he utilizes a diverse number of approaches to achieve the deconstruction of each artwork in order to explore the concepts hidden within its visual imagery. The artist uses cultural issues to exhibit his care towards society, politics and economics, fields that provide conceptualized foundations for artistic creation. The elements present in Taman's sculptures and paintings as well as his naturalistic style all embody the most fundamental of forms and conditions as well as changes in material attributes.
The artwork titled Tiga Petani (Three Farmers) belongs to a series that was created through a semi-abstract approach. Earthen colors form the base tones of the artwork while human figures are depicted in ocher and the hues of natural rock so that the visages of the subjects imbue a sense of rock-like strength. The hand gestures of the three farmers have also been exquisitely expressed; the farming tools held in their hands depict a resilient tenacity and protectiveness toward their home. The farmers live in an era wherein their nation is undergoing drastic transformation, as symbolized by the raining thunderclouds gathered above their heads. Natural beauty and gratitude for the nurturing heavens are engendered between men and nature, a perfect representation of how the forces of nature have exerted profound influence upon Taman's artistic creations.
Pande Ketut Taman, through his artworks, endeavors to express the primal spirit from deep within Mother Earth to the viewers in order to connect us to nature, and has told many tales of ancient myths and folklores using brush strokes of rustic simplicity. To Taman, art is an integral part of lived existence just as the practice of Taichi and meditation nurtures our wellbeing and immerses us in spiritual contemplation. Our sensibility towards nature comes from within, in the same way that the mandala begins with our physical being. The artist is enveloped and enclosed by the beloved members of his family, a small town, surrounding forests, and mountains; the society to which he belongs is like the universe in which we are encompassed and to which we must all express our care and respect.
PANDE KETUT TAMAN
Pande Ketut Taman was born in Peliatan, Bali into an artistic family in 1970. A child prodigy, he previously studied art at the Indonesian Institute of the Arts. The artist observes the world around him with a particularly acute perception, and has always been skilled in using stunningly intriguing novel perceptions to interpret the many facts and facets of everyday life. Later on, he moved with his wife and family to a small town in Muntilan where he bathed in the encompassing serenity of the ancient temples and rejoiced in the fiery flames of the volcanoes in the distance. This environment, home to both tranquility and motion, gradually imbued the works of Taman with veneration for nature.
Since the advent of the Art Nouveau movement in Indonesia (1974-1979), a wide range of artistic languages and expressions have been developed within the realm of Indonesian art. Pande Ketut Taman is extremely innovative in terms of interpretation and perception; he utilizes a diverse number of approaches to achieve the deconstruction of each artwork in order to explore the concepts hidden within its visual imagery. The artist uses cultural issues to exhibit his care towards society, politics and economics, fields that provide conceptualized foundations for artistic creation. The elements present in Taman's sculptures and paintings as well as his naturalistic style all embody the most fundamental of forms and conditions as well as changes in material attributes.
The artwork titled Tiga Petani (Three Farmers) belongs to a series that was created through a semi-abstract approach. Earthen colors form the base tones of the artwork while human figures are depicted in ocher and the hues of natural rock so that the visages of the subjects imbue a sense of rock-like strength. The hand gestures of the three farmers have also been exquisitely expressed; the farming tools held in their hands depict a resilient tenacity and protectiveness toward their home. The farmers live in an era wherein their nation is undergoing drastic transformation, as symbolized by the raining thunderclouds gathered above their heads. Natural beauty and gratitude for the nurturing heavens are engendered between men and nature, a perfect representation of how the forces of nature have exerted profound influence upon Taman's artistic creations.
Pande Ketut Taman, through his artworks, endeavors to express the primal spirit from deep within Mother Earth to the viewers in order to connect us to nature, and has told many tales of ancient myths and folklores using brush strokes of rustic simplicity. To Taman, art is an integral part of lived existence just as the practice of Taichi and meditation nurtures our wellbeing and immerses us in spiritual contemplation. Our sensibility towards nature comes from within, in the same way that the mandala begins with our physical being. The artist is enveloped and enclosed by the beloved members of his family, a small town, surrounding forests, and mountains; the society to which he belongs is like the universe in which we are encompassed and to which we must all express our care and respect.