“First and foremost, I am sincerely grateful for this wonderful opportunity in such a truly beautiful place as Bali, Indonesia, at the foot of a World Heritage Site.”
First and foremost, I am sincerely grateful for this wonderful opportunity in such a truly beautiful place as Bali, Indonesia, at the foot of a World Heritage Site. Visiting Indonesia and engaging with friends there has been a true joy. I would like to thank the people who have said they wanted to make it a permanent museum, and those who committed to the realization.
This museum will be open to all generations. It is a great honor for me to see my works and solo exhibitions go beyond the framework of a touring exhibition and become a permanent museum.
The age of imagination. In the last few years, The difference between the abstract, and in between . These were the core of the After the rainbow.
From the lecture: “Possibilities of Imagination”
University of Tokyo, RCAST
2022
Eugene Museum in Bali
First and foremost, I am sincerely grateful for this wonderful opportunity in such a truly beautiful place as Bali, Indonesia, at the foot of a World Heritage Site. Visiting Indonesia and engaging with friends there has been a true joy. I would like to thank the people who have said they wanted to make it a permanent museum, and those who committed to the realization.
This museum will be open to all generations. It is a great honor for me to see my works and solo exhibitions go beyond the framework of a touring exhibition and become a permanent museum.
ABCAndra’s studio in Jakarta, 2024
First and foremost, I am sincerely grateful for this wonderful opportunity in such a truly beautiful place as Bali, Indonesia, at the foot of a World Heritage Site. Visiting Indonesia and engaging with friends there has been a true joy. I would like to thank the people who have said they wanted to make it a permanent museum, and those who committed to the realization.
This museum will be open to all generations. It is a great honor for me to see my works and solo exhibitions go beyond the framework of a touring exhibition and become a permanent museum.
First, the dye is applied to a sheet of paper. The sheet is then folded into a prism, which is exposed to the sun over a period of weeks or months. The faces on the prism that receive the most sunlight fade dramatically, while those that remained largely in shadow remain a vivid green. The paper is then unfolded to reveal the finished gradation.
As the title hints, it is the prisms themselves that create the shadows, but the factors that cause the resulting gradations are not easy to imagine when the sheet of paper is unfolded and displayed as a flat work. This series is a pointed reminder that our way of comprehending existence unavoidably becomes multifaceted through environment and circumstance.
- At middle garden, Eugene Museum in Bali
- At middle garden, Eugene Museum in Bali
- At middle garden, Eugene Museum in Bali
- At middle garden, Eugene Museum in Bali
- At middle garden, Eugene Museum in Bali
- At middle garden, Eugene Museum in Bali
First, the dye is applied to a sheet of paper. The sheet is then folded into a prism, which is exposed to the sun over a period of weeks or months. The faces on the prism that receive the most sunlight fade dramatically, while those that remained largely in shadow remain a vivid green. The paper is then unfolded to reveal the finished gradation.
As the title hints, it is the prisms themselves that create the shadows, but the factors that cause the resulting gradations are not easy to imagine when the sheet of paper is unfolded and displayed as a flat work. This series is a pointed reminder that our way of comprehending existence unavoidably becomes multifaceted through environment and circumstance.
Light and shadow inside me is a signature series of two-dimensional works by Kangawa. In the original green works, paper is coated on one side with water-based dye, folded and fixed to form a polygonal prism, and exposed to sunlight for several weeks. Each face of the prism receives a different amount of sunlight depending on the direction of the sun’s rays, resulting in some areas fading faster than others to form a gradation of color. The fading process can be described as a “progression” in the sense that the dye changes color, or a “regression” in the sense that it brings the paper back to its original color. Furthermore, in their use of sun exposure, works from this series can be considered both paintings and photographs.
First, the dye is applied to a sheet of paper. The sheet is then folded into a prism, which is exposed to the sun over a period of weeks or months. The faces on the prism that receive the most sunlight fade dramatically, while those that remained largely in shadow remain a vivid green. The paper is then unfolded to reveal the finished gradation.
As the title hints, it is the prisms themselves that create the shadows, but the factors that cause the resulting gradations are not easy to imagine when the sheet of paper is unfolded and displayed as a flat work. This series is a pointed reminder that our way of comprehending existence unavoidably becomes multifaceted through environment and circumstance.
First and foremost, I am sincerely grateful for this wonderful opportunity in such a truly beautiful place as Bali, Indonesia, at the foot of a World Heritage Site. Visiting Indonesia and engaging with friends there has been a true joy. I would like to thank the people who have said they wanted to make it a permanent museum, and those who committed to the realization.
This museum will be open to all generations. It is a great honor for me to see my works and solo exhibitions go beyond the framework of a touring exhibition and become a permanent museum.