Wayan Januariawan

Born and bred in Ubud, Wayan Januariawan stated that he has known arts as far as he can remember. As a kid, he started his journey by painting traditional works which he could use to earn his own money. Today, he is still active in the world of painting, known mostly for his on-the-spot works. Embodying the colors of nature, his works are all about the beauty of the island, represented through the plays of form, shade and light. His beautiful works can now be viewed at Monkey Forest Gallery until February 27.
What do you say about your style?
Many people say that my style is impressionist, just like the one that was developed in France in 1870. The final results might seem impressionist, but in my opinion, I just try to create the paintings which could portray the closest conditions of the real objects. As I chase the light, the final results couldn’t be that perfect; it’s just the impressions that are close. The scratches are not too fine as they come out of spontaneity.
I believe that you also have experience of painting on-the-spot. Tell us about it.
There are many interesting experiences when I paint outdoor. First of all, I could be in touch with my surroundings. When I was painting at a traditional market, there were always people who came to see my process and give me their critical views. When I was painting at a tourist attraction, I always felt that I was part of that attraction itself.
What are some of the challenges to paint on-the-spot?
Normally, the challenges are the circumstances in the nature itself. The rain, for instance. From the initial plan of painting the view of a bright morning, it could just turn to be the gloom when the rain pours down. However, for the painting itself, I always enjoy the process.
What are you trying to convey through your works?
Compared with other conceptual exhibitions, I just want to express simple things about nature to all art connoisseurs. For example, the beauty of sunshine that touches the leaves. If these paintings are exhibited in the city, somehow, it would be a turning point. The audiences could see and feel the felicity of living in a village, unlike the feeling of living the city life. This could be a visual language which broadcasts the ‘rural news’ to the urban. On the other hand, there are also the social critics. It’s not about opposing the reality, but giving new options for the audiences. It would be better if these works can convey positive messages.


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