Inside of Bonuz

I Putu Sudiana ‘Bonuz’

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I Putu Sudiana ‘Bonuz’

Tonyraka Art Gallery November 18th – December 12th, 2011

Pengantar

Dengan bergembira hati, akhirnya pameran tunggal Putu Sudiana Bonuz dapat digelar sesuai rencana.

Pameran ini, merupakan momentum bagi publik seni rupa untuk kembali menimbang potensipotensi seni rupa Bali, terkhusus dengan potensi kreatif perupa yang menyoal hal-hal terkait spiritualitas, ruang bathin, juga renunganrenungan ke dalam diri, ke dalam praktek seni visual perupa.

Cukup sering sudah kita mendengar, seni rupa kontemporer begitu riuh dengan karya-karya yang hanya bermain-main di wilayah eksperimentasi demi artistik visual. Praktek bagaimana artistik visual berhubungan dengan hal-hal spiritis, sempat ditinggalkan. Kini, tematis soal ini kembali hangat diperbincangkan.

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Tonyraka Art Gallery, mengajukan Putu Sudiana Bonuz sebagai tawaran untuk menyemangati keserbanekaan ekspresi seni rupa Bali itu, terutama bagaimana seni rupa berkait dengan praktek spiritis sehari-hari seorang perupa. Kurator pameran Wayan Kun Adnyana, mengemas pemanggungan ini dengan tajuk “Inside of Bonuz�. Menurut kami, sangat layak diapresiasi.

Untuk itu, hadirnya para apresian diharapkan tumbuh dialog, baik wacana maupun apresiasi atas pencapaian Bonuz ini.

Kami, Tonyraka Art Gallery, dengan suka cita mewadahi ruang apresiasi ini. Selamat berapresiasi!

Ubud, Oktober 2011

Tony Hartawan

Acknowledgement

With a pleasure, finally a solo exhibition of Putu Sudiana Bonuz is able to be held as planned. This exhibition is a momentum for fine art public to reevaluate the potential of Balinese fine art, especially towards creative potential of artist who concerned about any matters related to spirituality, inner/spiritual space, as well as self-reflections to the implementation of art visual.

We have frequently heard the boisterous of contemporary art with their artworks that are just playing around in the experimentation area for the sake of visuals artistic. The practice concerning the relation between visual artistic and spiritual things was abandoned. At present, this thematic is being a hot issue.

Therefore, Tonyraka Art Gallery presents Putu Sudiana Bonuz as a bid to encourage the diversity of Bali’s fine art expressions, particularly in the relation between fine art to the everyday practice spiritist of an artist. Wayan Kun Adnyana curator of the exhibition packages this exhibition under the headline “Inside of Bonuz”. In our opinion, it is very worthy to be appreciated.

To that end, upon the presence of the appreciator, we wish there shall be dialogue, either discourse or appreciation for the achievements of Bonuz. We, Tonyraka Art Gallery, accommodate this appreciation in joyfulness. Good luck!

Ubud, October 2011

Tony Hartawan

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Antara Jalan Kreatif dan Spiritis Sehari-Hari

oleh Wayan Kun Adnyana kurator seni visual, tinggal di Yogyakarta

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Apa yang bisa ditakar ketika inderawi pandang tertuju pada sesosok citra gambar? Sepertinya tidak cukup terpuaskan jika semata bertaruh pada indera mata. Ada rasa ingin tahu lebih jauh, menyangkut kondisi-kondisi emotif yang ada di balik serba visual itu.

Dalam praktek kritik seni, di sinilah dibutuhkan pola pendekatan jauh, yakni praktek kritik yang berkehendak memahami karya seni dari sisian sang pengarang dan bacaan atas “makna� yang telah terkonstruksi di ruang sosial seni. Bersisian dengan pencipta seni (baca:perupa), berarti pula menyusuri biografi kreatif perupa bersangkutan.

Saya lebih memercayai praktek kritik seni yang komprehensif, bagaimana bacaan dekat; mengurai utuh seluruh gejala visual, berpadu dengan bacaan jauh; kecermatan interpretasi atas makna

dan kehadiran pengalaman sosial untuk mencerap dunia sehari-hari seorang perupa.

Temali kedua perspektif pembacaan ini, paling tidak, akan mendekatkan pada konstruksi makna baru yang lebih utuh. Nirwan Dewanto menjelaskan, pembacaan dekat dapat mengenali karya seni sebagai pengetahuan sekaligus sumber penciptaan baru, dan bukan sebagai barang. Pembacaan jauh, mengurai ihwal riwayat pengarang, dari ranah yang melahirkan, dari segenap kuasa yang melembagakan (2005 : 11-12).

Saya mengafirmasi model kritik yang secara utuh mengartikulasi kedua perspektif baca ini. Saya memosisikan diri sebagai karib yang tidak saja melihat dan membaca, melainkan juga merasakan bagaimana seorang I Putu Sudiana Bonuz berkarya dan melakukan aktivitas sosial seni. Berikut berpendirian untuk melakukan pembacaan dan interpretasi atas gejala visual dari karya Bonuz. Saya menimbang hubungan korelatif, dan bahkan persekutuan utuh antara karya dengan laku spiritis yang dijalani lelaki kelahiran Nusa Penida ini.

Saya tidak mungkin datang dari kekosongan dalam melihat kara-karya Bonuz yang saya pilih dalam pameran ini. Saya juga tidak mengingkari, bahwa posisi Bonuz sebagai perupa yang secara aktif membangun ruang dialog dengan saya selama proses kurasi, juga menentukan pemanggungan karya visual.

Untuk itu ijinkan pembacaan saya lakukan dengan menyusun-padu proses dialog penuh rasa ini.

Suatu sore, dengan pernyataan penuh guyon, Bonuz mengatakan dirinya sering berdialog kecil tentang keagamaan, tentang meditasi dan yang berhubungan dengan spiritual. Dia bahkan menyatakan, dialog seperti ini, tidak dilakukannya sekali-dua kali. Beberapa pemangku dan para sahabatnya di beberapa tempat sering meminta alumnus seni rupa ISI Denpasar ini untuk ngobrol tentang hal yang berhubungan dengan spiritual. “Kalo Kun pernah baca status facebook ku....(tulisan spontan) pasti bisa menangkap tentang aktivitas otak ragane. Yen mebuaka ngorta aeng kewehne. Tapi raga sering juga diajak pemangku yang lain berbicara soal spiritual universal. (pang sing tenget) hehe...,� tulis Bonuz yang dikirim melalui pesan singkat ke telepon seluler saya, pada Selasa, 18 Oktober 2011, pk 05.15 Wita, sore.

Apa yang disampaikan Bonuz dalam pesan singkatnya itu, memberi ketegasan bahwa dunia ideal dalam bacaan sebagai ruang

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spiritual, tidak menjadi semata kebutuhan individu dengan ide-ide spiritis pribadi. Bonuz dalam wilayah ini telah menjadi bagian dari konsensus publik; urusan spiritual juga menjadi semacam kesepakatan komunal. Pendeknya Bonuz, ulang-alik memerankan posisi individu dan publik dalam kerangka relasi spiritual. Menjadi beralasan kemudian ketika membaca jalan kreatif Bonuz, akan berjumpa pada deretan artefak seni rupa yang secara psikologis terasa mengobarkan ruang-ruang spiritis manusia timur.

Sejarah seni rupa dunia telah mencatatkan betapa ruang-ruang spiritual manusia tiap zaman terekspresi dalam karya visual.

Dari adab paling primitif, lewat temuan patung tanah liat berupa stilisasi figurasi genetikal manusia; venus, di Bali dikenal dengan lingga dan yoni, sampai adab Renaisance dengan penggambaran berbagai ajaran relegi, atau bacaan mitos dewadewa yang memengaruhi tradisi gambar wayang di dunia timur, atau pun sampai pada temuan abstraksi seperti dikobarkan Wassily Kandinsky; spiritualitas senantiasa aktual dalam karya seni rupa. Terbukti gejala spiritualitas juga tetap mewarnai praktek seni rupa kontemporer hari ini.

Karya Bonuz, paralel dengan tilas sejarah ini, di mana kondisi-kondisi kejiwaan dan aktivitas sehari-hari yang penuh dengan riwayat ritus, akhirnya bermuara pada visual karya. Bonuz memang tidak memilih jalan asketik yang ektrem, yang harus menjadi pertapa di hutan-hutan, tetapi memilih untuk tetap menjaga sosialita dunia seni bersama komunitas seniman kota, dan juga masyarakat desa.

Bonuz, seperti berjalan di antara spritualitas sebagai ritus dan aktivitas obsesif dalam batin. Dalam pewarisan tradisi ritus Hindu-Bali, Bonuz hadir sebagai “pemangku”, pemimpin jalannya upacara, terutama upacara adat di pura keluarga.

Sementara dalam pendakian spiritis batin, ia melakukannya dengan melatih fisik dan pikiran. Intuisinya bermain-main di antara kerinduan untuk menuai jawaban atas hal-hal keilahian dengan memandang semesta alam sebagai ruang pijak. Keilahian dijelajahi dan dicari di alam yang tampak.

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Simak misalnya karya lukisan dengan judul “Red in The Sky”, atau seri “Full Moon”, dan juga karya “Bayangan di Langit”, sangat terang menjelaskan betapa alam dijadikan tumpuan untuk mencari jawab atas obsesi penemuan ruang keilahian. Boleh jadi kesempurnaan Tuhan di bumi, nampak pada fenomena alam. Dalam visual karya, warna dan komposisi hadir spontanitas, yang diperjuangkan lebih pada eksplorasi keruangan imajiner dalam karya. Muatan rasa, dalam pengertiannya sebagai kondisi-kondisi batin menjadi dominan. Artinya, abstraksi hanya merepresentasikan ruang imaji tentang alam semesta. Bukan pada upaya peniruan kesan kenyataan fotografis, karena yang dipentingkan adalah akslerasi obsesi keilahian. Jawaban obsesi ini diketemukan pada fenomena alam semesta; antara visual yang bisa ditatap, dengan visual yang dirasa berdialog.

Karya-karya seni lukis yang dihadirkan pada pameran “Inside of Bonuz” (tajuk yang terinspirasi dari seri “Inside of Mecca”, “Inside of Vatican” dan lain-lain oleh National Geographic) kali ini, memang lebih merepresentasikan abstraksi sebagai muara dari pengalaman batin. Hal paling diutamakan adalah mengemukanya kesan ruang imajiner. Abstrak sebagai riwayat

formal elementer mulai ditinggalkan. Pesan yang sama juga bisa dipetik dari visual karya instalasinya yang bertajuk “Mempersembahkan Hati”, walau ada repetisi objek, tetapi secara kesan lebih menguak suasana spiritis.

Apabila sekarang ditautkan dengan puisi-puisi yang dia tulis di status facebooknya, ambil salah satu berjudul Suara Pagi Ini, ditulis purnama, awal Oktober 2011, berbunyi: “Setiap pagi//aku selalu disapa suara genta//juga suara kidung suci yang dikasetkan//berkumandang di seputaran rumah kecilku//tak mau kalah suara perkutut piaraanku//juga harum dupa//seperti bersinergi// tanpa komando//tapi merdu..merdu sekali// menyamankan jiwa//damai…!//Pemilik semesta kini hadir semakin dekat”. Paling tidak ada tiga hal yang diterangkan saling berkait; seisi semesta adalah energi pendorong (diwakili ungkapan: setiap pagi, suara genta, suara perkutut dan lain-lain); rasa dan intuisi merupakan media penerjemah (ungkapan: merdu dan menyamankan jiwa); keilahian adalah tujuan (ungkapan : Pemilik semesta).

Apa yang ditulis ini, boleh jadi sebagai pengakuan spontan, betapa fenomena spiritis menjadi begitu mengikat obsesi batin dan tubuh.

Menjadi tidak berlebihan kemudian bila saya meringkas catatan ini dengan menyatakan, bahwa praktek seni rupa I Putu Sudiana Bonuz berjalan di antara riwayat ritus dan praktek batin untuk mencari makna keilahian. Fenomena alam, menjadi energi pendorong, sementara temuan-temuan gejala keilahian pada alam dibaca sebagai upaya pemenuhan kepuasan batin dan juga artistik seni rupa. Jadi, membaca karya Bonuz sudah semestinya menimbang dunia keseharian Bonuz, dalam konteks ini berkait dengan riwayat laku spiritual yang diyakini dan dilakukannya. --Yogyakarta, Oktober 2011 Daftar Bacaan Adnyana, Wayan Kun. 2007, Nalar Rupa Perupa, Buku Arti, Denpasar Dewanto, Nirwan. 2005, “Pembacaan Dekat atau Jauh? Melintas Sastra dan Seni Rupa’’ dalam Jurnal Kebudayaan Kalam, Edisi 22 tahun 2005, Yayasan Kalam, Jakarta.

Eliade, Mircea, 2002, Mitos Gerak Kembali Yang Abadi: Kosmos dan Sejarah (The Myth of The Eternal Return : Cosmos and History, 1991), penerj Cuk Ananta, Ikon Teralitera, Yogyakarta.

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Between Creative Way and Daily Spiritism

by Wayan Kun Adnyana visual art curator, live at Yogyakarta

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What can be evaluated when the visual sensory focused on a visual image? Apparently, it is not quite satisfied if we only rely on the eyes. There will be a curiosity occurred to evaluate emotive conditions that lie behind those visual.

In regards to the above, then a distant reading technique is required in the practice of art criticism, a criticism technique that comprehend artwork based on art worker’s side and the readings of constructed “meaning� within art social space.

Standing on the side of art workers also means trace their creativity biography.

I further believe in the comprehensive art criticism, when close reading combine with distant reading, a technique that wholly unravel visual phenomenon combine with an accurate

interpretation towards meaning and social experience in absorbing the everyday world of an artist. This combination may result in or at least leads to the construction of new and more complete meanings. As stated

by Nirwan Dewanto, close reading is able in recognizing artwork as knowledge and source of new creation as well, rather than as an object. Distant reading elaborates any matters concerning historical background of the author, from the realm which was raised and all the power that institutionalize (2005: 11-12).

I affirm that I apply a comprehensive criticism model in articulating these both reading perspectives. I positioned myself as a friend who not only see and read, but also feel for how I Putu Sudiana Bonuz produces his artwork and perform his art social activities. In addition, I stand to perform reading and interpretation upon visual phenomenon of Bonuz’s artwork. I consider the correlative relationships, and even the complete alliance between his artwork and his spiritist behavior applied by this Nusa Penida-born man.

It is impossible that in selecting Bonuz’s artwork I was grounded by blankness. I am not denying that his position as an artist who is actively building a dialogue with me during the curation process definitely determines the staging of his visual works.

Therefore, let me do the readings by upknitting the process of this full flavor dialogue.

On an afternoon, in a fully joking statement, Bonuz said he often did small talks about religion, meditation and any matters concerning spiritual not just once or twice but several times. Several Priests and his friends often asked this alumnus of fine arts of ISI Denpasar to talk about matters relating to spiritual. “If you ever read my facebook status…. (Spontaneous writing), you can capture my mind activity. It is hard to express it orally. But, some Priest often asked me to talk about universal spiritual (not to be so serious)…hehe… ” as said by Bonuz on his text sent to me on Tuesday, 18 October 2011 at 05.15 PM. Those matter conveyed by Bonuz on his text affirms that the ideal world in the reading process as a spiritual space is not merely the needs of individuals with personal spiritist ideas but it has been part of a public consensus; spiritual affairs also became a kind of communal agreement. In short, he

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shuttle between individual and public position within tual relation framework. It is reasonable that during reading process of Bonuz’s creative way, we will meet fine art artifacts that are psychologically inflaming ist spaces of the Eastern.

spirithe a row of spirit-

The history of fine art has recorded how the human spiritual spaces of every period are expressed in visual works. From the most primitive manners, by uncovering a clay sculpture of stylized figuration of human genital; Venus, in Bali known as the phallus and yoni, until the Renaissance with the depiction of various religious theory, or literature myths of gods who influenced the tradition of puppet image in the eastern world, or even up on the findings of abstractions as inflamed by Wassily Kandinsky; spirituality always actual in artwork. Thus proves that spiritualism phenomenon remains influence in contemporary fine art practice nowadays.

Bonuz artworks are in line with the footsteps of this history, in which psychiatric conditions and daily activities are filled with the history of the rites, ultimately boils down to visual works. Bonuz did not choose the path of ascetic extremes, which should be a hermit in the woods, but chose to keep the socialite world of art among the city artist and village communities.

He walks between spirituality as ritual and obsessive activity in the inner. In inheriting the tradition of Hindu-Balinese ritual, He appears as “priest”, the leader of the ceremony, especially the family temple ceremonies. While, in the climb of internal spiritist, he did it by both physical and mind exercise. His intuitions play in between the desire to search the answers of the divinity by assuming the worlds as a stepping space. Exploring the divinity and seeking it in the visible nature.

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In some of his artwork entitled “Red in the Sky”, or a series of “Full Moon”, and also the “Bayangan di Langit (Shadows in the Sky)”, those clearly explaining how nature is used as a ground in seeking the answer of the obsession in discovering the divinity space. Perhaps, the perfection of God on earth is seen in natural phenomena. In visual of an artwork, color and composition are presented spontaneously, emphasizing more on the spatial imaginary exploration, a content of feelings dominantly filled by inner/spiritual conditions. Thus, the abstraction represents only the imagination space of the universe. Not to imitate photographic real impression, because the important thing is the acceleration of divinity obsession.

The answer of this obsession is found on the phenomenon of the universe; between the visible and the spoken visual.

Artworks presented on “Inside of Bonuz” (The title is inspired by “Inside of Mecca”, “Inside of Vatican” and others series published by National Geographic) mostly represents abstraction as the final destination of inner experiences. It emphasizes more on the expression of imaginary space impression.

Abstract as the elementary formal history began to be abandoned. The same message can be gleaned from his installation entitled “Mempersembahkan Hati (Offering Heart)”, although there is repetition of objects, but the impression is likely to uncover the spiritists atmosphere.

If we are now closely look into the poems in his Facebook status, for an example, The Morning Voice, was written at the full moon, in the beginning of October 2011, “Every morning / / I always greeted by a priest’s bell / / the sound of taped mantra / / rang around my little house / / compete with the twittering sound of my turtledove / / as well as fragrant incense / / as they were in a synergy / / without a command / / but in a melodious melody / / freshen the soul / / peace ...! / / The Owner of the universe is now getting closer “. There are three interrelated things are described in this poem; the whole universe is the booster energy (represented by the expression: every morning, the sound of priest’s bell, twittering sound of turtledoves and others); sense and intuition is a translator media (expression: melodious and freshen the soul); divinity is the purposes (expression: Owner of the Universe). What is written, may be as spontaneous confession, how spiritist phenomenon strongly bind the obsession of soul and body.

Therefore, it is no exaggeration to say that if I summarize this note by stating that the fine art implemented by I Putu Sudiana Bonuz walks between ritual history and spiritual practices in seeking the divinity meaning.

The nature phenomenons become the booster energy, while other findings on the nature of divinity phenomenon are interpreted as an effort in satisfying inner/spiritual and artistic satisfaction as well. Thus, in reading the Bonuz’s artwork we should consider his daily world, in this context relates to the history of spiritual behavior which he believes and does. --Yogyakarta, October 2011 References Adnyana, Wayan Kun. 2007, Nalar Rupa Perupa, Buku Arti, Denpasar.

Dewanto, Nirwan. 2005, “Pembacaan Dekat atau Jauh? Melintas Sastra dan Seni Rupa’’ dalam Jurnal Kebudayaan Kalam, Edisi 22 tahun 2005, Yayasan Kalam, Jakarta.

Eliade, Mircea, 2002, Mitos Gerak Kembali Yang Abadi: Kosmos dan Sejarah (The Myth of The Eternal Return : Cosmos and History, 1991), penerj Cuk Ananta, Ikon Teralitera, Yogyakarta.

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Refleksi Senja acrylic on canvas 195 x 195 cm 2011

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Blue Horizon acrylic on canvas 80 x 250 cm 2010

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Energy of Lines acrylic on canvas 120 x 200 cm 2011

Full moon I acrylic on canvas 150 x 150 cm 2011

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Full Moon II acrylic on canvas 150 x150 cm 2011

Full Moon V acrylic on canvas 150 x 150 cm 2011

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Menjelang Terbenam acrylic on canvas 180 x 180 cm 2011

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Red in The Sky acrylic on canvas 180 x 180 cm 2011

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The Fly I acrylic on canvas 150 x 150 cm 2011

The Fly II acrylic on canvas 150 x 150 cm 2011

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The Fly III acrylic on canvas 150 x 150 cm 2011

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The Fly IV acrylic on canvas 150 x 150 cm 2011

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I Putu Sudiana Bonuz was born in the tiny island of Nusa Penida of the southeast coast of Bali on 30 December 1972. In a place known for its fishing and seaweed farming, Sudiana began by painting fishing boats. His great interest in painting was unusual in a fishing village, but this did not discourage him from wanting to formally study painting. After finishing junior high school in Nusa Penida, he bravely moved to Bali to study at the High School of Fine Arts (SMSR). Then in 1995 he continued on to the Fine Arts College of Indonesia (STSI, now the Indonesia Arts Institute, ISI) in Denpasar.

Solo exhibitions

Performance arts

2011 Refleksi Nafas, at Hitam-Putih art Space, Sangeh-Bali

2011 Agni Rupa II, at KOMANEKA Gallery, Bali

2008 Pleading Life’s Tenacity, at Kemang Village, Jakarta

2011 Agni Rupa, at Hitam-Putih art space, Sangeh Bali

2006 Journey of the Soul, at Relish CafĂŠ and Pool, Jakarta

2010 Mendulang Nafas, at Pantai Ketewel, Bali

2003 Esensi Abstrak, at Art Centre Denpasar, Bali

Group exhibitions

Universal Spirit, at Jenggala Keramik Jimbaran, Bali

2000 Melintas Batas, at Merah-Putih Forum, Denpasar.

2010 Return of the Abstraction, at Tony Raka Gallery, Mas-Ubud, Bali

Gerakan Abstrak Indonesia, at Taman Budaya Yogyakarta

Optimism, at Maha Art Gallery, Bali Beach Sanur, Bali

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Behind the funny make-up, at Hadiprana Gallery, Jakarta

Three Painters at Hadiprana Gallery Jakarta

2009 Cerpen Kompas, Bentara Budaya Jakarta, Jogja dan Bali.

Refleksi Seni II, at Darga Gallery, Sanur

2008 Joint Exhibition, Kiri Desa Gallery, Singapore.

1999 Catur Muka, “Harmony ”at Bali Museum,Denpasar

”Kangin Kauh Group” at Art Centre Denpasar

Love Letter, at Tonyraka Gallery, Mas Ubud.

Semifinals of the Philip Morris Art Award VI, National Gallery

Jakarta

Millenium III ,at Museum Neka Ubud

Green, Sanur village festival

2007 Artmosphere, Sanur village festival,at GuetgallerySanur.

Global worming, GWK, Jimbaran-Bali

2006 Between Two Windows, at Danes Art Veranda, Denpasar

1998 Bali Painters Parade, at Bali Hyatt, Sanur.

Kayuning kayu, at Hadiprana Gallery, Jakarta

Refleksi Seni 98, at Darga Gallery Sanur.

Jago, at Niki Gallery Lodtunduh, Ubud

1997 At Soemardja Gallery, ITB, Bandung.

Perjalanan Seni Lukis Abstrak Indonesia, at Taman Budaya Yogyakarta

Bahasa Hati & Perubahan Musim, at Komaneka, Ubud

2003 Taiblack, at STSI 30

Denpasar

Untitled, at Komaneka Gallery, Ubud

2002 Narasi Abstrack, at Rare Angon gallery, Sanur

40th Anniversary, at Hadiprana Gallery Jakarta

Kembalikan Baliku, at APSARI Gallery Jakarta

“virus” at Sutarta Gallery Ubud

2001 Three Painters at INA gallery Jakarta 2000 Gunung Batur at Museum Sidik Jari Denpasar

Catur Muka “Reality & Identity” at Art Centre Denpasar

With “kamasra”at Gedung Mario Tabanan.

1996 Ngulat Taksu, at Museum Sidik Jari , Denpasar.

With “kamasra” at Bali Cliff Resort,Nusa Dua.

1996 With “kamasra” at STSI Denpasar 1994 With “SMSR” at Art Centre Denpasar

Awards 1999 Semi Final of The Philip Morris Art Award VI From YSRI, Jakarta 1998 The Best Artwork from Kamasra, STSI Denpasar 1997 The Best Artwork from Kamasra, STSI Denpasar 1995 The Best Artwork from Kamasra, STSI Denpasar

This catalogue was published as a supplement to a Solo Exhibition of I Putu Sudiana Bonuz “Inside of Bonuz” November 18 - December 12, 2011 at Tonyraka Art Gallery

writer Wayan Kun Adnyana English Translation Diah Respati W. Photography Artist collection Designed by Kotasis Kamar Desain 3x3x3 Yogyakarta, Indonesia www.kotasis.com Published by Tonyraka Art Gallery Jl. Raya Mas 86, Mas, Ubud, Bali 80571, Indonesia P. +62 361 7816785, 974538 F. + 62 361 975207 Tonyraka Gallery Jakarta Art District Grand Indonesia Shopping Town East Mall, Lower Ground, Lot 29 Jl. MH. Thamrin No. 1 Jakarta Pusat 10310 tonyraka@gmail.com info@tonyrakaartgallery.com www.tonyrakaartgallery.com Edition 500 copies

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