Indonesia

Bali

Krisna Sudharma 

Krisna Sudharma is the artistic director and founder of Nonfrasa, a contemporary art gallery in Bali, Indonesia. For nearly a decade, Sudharma has carved out a distinct space in the realm of creative direction and consultancy, focusing on contemporary practices that blend bespoke design with the ambitions of multidisciplinary brands. His approach is deeply rooted in Balinese philosophy, emphasising duality and balance—principles that invite an acceptance of the world as it is, rather than as it should be.

In his latest venture, Sudharma launched Nonfrasa to showcase the work of both emerging and overlooked Balinese artists, creating a dialogue between the island’s cultural heritage and contemporary artistic expression. The gallery seeks to expand and redefine Balinese identities through a narrative lens, offering a fresh perspective on the island’s rich history.

Potato Head 

The recommendation for Nonfrasa Gallery in my guide is a deeply personal choice. The gallery embodies my vision and aspiration to transform how people perceive art within the context of Bali. It serves as a living case study for my journey of learning, redefining the art canon, and dismantling biases and misinterpretations present in the interactions between the local community and foreigners. Moreover, Nonfrasa Gallery stands as an inclusive platform that supports emerging artists while rediscovering the leftfield work of established ones.

Starting with a blank slate and without any academic background in art, the gallery has gradually evolved into a catalyst for change in Bali. Nonfrasa Gallery has become a purpose and a vision in itself, shaping its identity through a process of continuous learning, experimentation, and growth. The consciousness and discourse of Nonfrasa Gallery have been collectively built by every artist who has been a part of its journey. The exchange of ideas and discussions with curators, writers, and institutions have intertwined to condensed these voices into a force, both heard and unheard into a unified direction that extends beyond the gallery's walls, hopefully impacting the art landscape of Bali in meaningful ways. Nonfrasa Gallery is more than just a physical space; it is a reflection of commitment to promoting inclusivity, artistic redefinition, and constructive dialogue within Bali's art scene.


Tian Taru in Payangan, Gianyar, is recommended for its exceptional and unparalleled effort by Sebastian Mesdag and Ayu Purpa. Over the span of 20 years, they have dedicated themselves to creating a forest and a plantation even before harvesting the indigo for their crafts. Their holistic approach to brand thinking, centered around the principles of endurance and sustainability, is a rarity in modern-day Bali. What sets their endeavor apart is not just the making of indigo, but the incredible level of craftsmanship and intensive research that underpins their entire process.
From their deep insight into the dyeing process to their thorough understanding of the native plants in Payangan and the meticulous planning of their farm and workshop area, every aspect of Tian Taru showcases a dedication to excellence. The construction of their shelter, which also serves as a space for workshops and classes, has been thoughtfully designed to align with their vision, their decision to open Tian Taru as a dedicated space to share their knowledge and contribute to the local village reflects a genuine commitment to giving back. It's not just about ideation, but also about cultivating positive, sustainable habits within their community. Tian Taru's story and dedication to sustainability, craftsmanship, and community strongly resonate with the essence of the local area. It represents a unique blend of artistic ingenuity, environmental mindfulness, and a sincere aspiration to cultivate a mutually beneficial relationship with the community. 


Visiting the Bajra Sandhi Monument in Denpasar, a monumental structure that holds significant cultural and historical importance. Growing up in Bali, it's hard not to remember witnessing this structure gradually unveil itself as a place where people from Denpasar gather to relax, take a leisurely stroll, enjoy some grilled corn, or savor a delicious lumpia (fried spring roll) with homemade sauce. Even though it's not yet fully completed, the museum has already become a central spot for socializing in Denpasar, with people leisurely hanging out around its lush garden and pathways. 
The Bajra Sandhi Museum stands as one of the most important cultural institutions in Bali, showcasing the historical timeline of the island, its struggle for independence, and the heroic efforts of its patrons and patriots. It is a place that offers a comfortable and engaging atmosphere, where visitors can immerse themselves in the rich history and stories of Bali while also enjoying the serene surroundings. The museum serves as a metaphorical reminder of the importance of remembering and honoring the sacrifices made by those who fought for Bali's independence and cultural identity.


I recommend visiting Kedux, a figure who has greatly influenced the custom culture in Bali. Although I don't personally know him, his impact on the way of living and his ability to push boundaries have made Bali a representative of this unique culture. He has created a wave of inspiration for young individuals, showing them that dreams are not too high to reach as long as they are willing to put in hard work and maintain discipline. Kedux is known for his passion for custom motorcycles, with a particular focus on Harley Davidson, European, and American muscle bikes. His craftsmanship in working with gasoline and oil goes beyond what anyone else in Bali, and even Indonesia, can achieve. When discussing Kedux, mention should also be made of other renowned artists like Marmar Herayukti. Together, they contribute to something beyond imagination in terms of artistry and technicality.
 
One of the highlights of Kedux's work is his involvement in creating ogoh-ogoh, which are large papier-mâché effigies used in the festivities leading up to Nyepi. During the pengrupukan ceremony, these artistic and technically impressive creations take center stage, representing one of million essence of Bali. From the small canang offerings made by mothers or grandmothers at home to the enormous ogoh-ogoh prepared by the seka teruna teruni, a youth group in each Banjar (traditional neighborhood community), Bali is filled with artistic expressions that intertwine with its cultural identity. 


Space Available holds a significance as it represents the early forefront of the sustainability movement within the creative industry. Space Available was one of the early platforms to address the issue of waste and sustainability, inspiring others to join the cause. The platform introduced a circular system that transformed waste into beautiful products, sparking a much-needed dialogue around the impact of over consumption on the environment.

Space Available's commitment to sustainability extends beyond its products and into all aspects of the platform, from production to consumption, and even their merchandise. The top-notch communication and creativity displayed by the team pushes the boundaries of what is possible and inspires a new generation to take active roles in environmental conservation.
Dan Mitchell, the man behind Space Available, was my mentor and a former Creative Director for Potato Head, where I had the pleasure of witnessing his approach to bridging the desire for change and the need for beautiful products. His ability to intertwine his beliefs and concerns with his creative vision has left a long-lasting impression on me. Space Available's commitment to sustainability and driving change is unparalleled, and it encompasses our responsibility to conserve, protect and respect the environment towards a more sustainable future in the creative industry. 


Studio Gelombang in Gianyar is a gem that I highly recommend. This studio is founded by the remarkable artist, Made Griyawan, whose passion not only shines through his art but also through his dedication to giving back to the community. In Bali, the concept of art and artists has deep roots in the act of offering to the higher force, a tradition that predates the formal existence of the term "artist" before the 1930s, especially within early art collectives. This cultural context continues to be passed down through generations, with the learning process traditionally beginning within the family. Youngsters observe their parents or grandparents engaging in artistic endeavors, absorbing the techniques and traditions organically.
 
Made Griyawan embodies this tradition by passing on his knowledge and the spirit of "ngayah" (doing contribution) to the younger generation in Batuan, where he hails from and where the renowned Batuan style originates. His commitment goes beyond preserving and continuing the legacy of his predecessors; he also provides a platform for young individuals from the village of Batuan to study, learn, and refine their skills within the Batuan style while exploring new artistic possibilities and the studio serves as a hub for nurturing and perpetuating this rich artistic tradition.


The recommendation for Tandjung Sari in my guide holds a personal significance as it represents a treasure that I stumbled upon in 2017 through a 50th-anniversary book. Despite my childhood spent in Sanur, I had never come across this place during the pre-crisis and reformasi era. This discovery evoked memories of my father taking me fishing along the shores of Mertasari Beach to Shindu, creating a connection to Tandjung Sari that was previously unknown to me. Throughout the pandemic, the hospitality industry faced tremendous challenges, I had the opportunity to assist Tandjung Sari. This experience not only allowed me to refine their communications but also provided insights into the rich archives and personal stories of staff members who had dedicated decades to the establishment, fostering a deeper appreciation for its history and legacy.
The collaborative efforts of Wija Waworuntu with I Nyoman Cekog and I Wayan Puger was rooted not just in architectural drawings or technicalities, but in Wija's conceptual ideas and discussions about layouts, which Cekog and Puger then translated through their understanding of Balinese architecture. This process encapsulated the transmission of knowledge and formation of learning spaces within familial and kinship ties, mirroring the traditional passing down of knowledge in Balinese families. Such an approach gave rise to the early design elements associated with Bali style, seamlessly integrating Balinese philosophy with modern functionality.
The intersection of Balinese philosophy and modern functionality at Tandjung Sari signifies the seamless integration of cultural heritage into contemporary design, setting it apart as a boutique hotel that embodies these principles. Like a living museum, Tandjung Sari's legacy endures through its steadfast commitment to maintaining this delicate balance, ensuring that its rich history remains a vibrant part of its present-day identity.


Tian Taru

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