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I Made Sujendra

Senior Artist | Advisor
Baturulangun Batuan Artist Association

Artist Statement

For me, painting is the courage to be honest about what is 'meaningful' (berisi), rather than what is merely beautiful. Although my style may appear simple, every object within it is a spiritual reflection of the truths I believe in. I choose to use contrasting backgrounds—either solid black or pure white—as a vacuum where my soul can communicate freely without excessive visual distraction.

My creative process always begins with a concept, often inspired by casual conversations with anyone I encounter. I then bridge these concepts with Tantri—the Balinese folklores my father shared with me during my childhood. Through my paintings, I aim to revive these folk tales that are increasingly becoming extinct in this era of modernization

Bagi saya, melukis adalah keberanian untuk jujur terhadap yang “berisi” penuh makna, bukan sekadar apa yang indah dipandang. Meski gaya saya mungkin tampak sederhana, setiap objek di dalamnya merupakan refleksi spiritual dari kebenaran yang saya yakini. Saya memilih menggunakan latar yang kontras—hitam pekat atau putih bersih—sebagai ruang hampa tempat jiwa saya dapat berkomunikasi dengan leluasa, tanpa gangguan visual yang berlebihan.

Proses kreatif saya selalu bermula dari sebuah konsep, di mana inspirasinya sering kali muncul dari obrolan ringan dengan siapa pun yang saya temui. Konsep tersebut kemudian saya kaitkan dengan Tantri—cerita rakyat Bali yang didongengkan oleh ayah saya sewaktu saya masih kecil. Melalui lukisan-lukisan ini, saya ingin menghadirkan kembali cerita-cerita rakyat yang kian memudar dan terancam punah di tengah arus modernisasi ini

Artist Biography

I Made Sujendra, better known as Sujendra or by his nickname Lepo, was born in Banjar Dentiyis, Batuan, in August 1964. He is a unique figure in the history of Batuan painting, having developed a deeply personal artistic character despite coming from a family without an initial professional painting lineage. His talent was built through pure perseverance since the age of nine under the guidance of his father, I Wayan Kabetan, who taught him the foundations of traditional motifs and the discipline of patience through the manual technique of grinding Chinese ink.

Sujendra’s formal art education is extensive, beginning with the Senior High School of Fine Arts (SMSR), followed by a Diploma (D3) in Fine Arts Education at Udayana University, and eventually completing his Bachelor’s degree at the College of Teacher Training and Education Science (STKIP). Visually, he pours symbols through artistically deformed animal and human figures. His most prominent signature is the enlargement of specific body parts, such as the nose and head, to emphasize the depth of character and the 'substance' of the subject. The authenticity of his work also lies in symbolic simplicity through lines; straight lines represent the purity of God, truth, and steadfastness of faith, while curved red lines depict worldly negative energies or temptations.

His professional career rose significantly following his participation in the 1985 Bali Arts Festival (PKB). His iconic work, "The Greedy Place - Tantri" (1984), was featured in the book Images of Asia: Balinese Painting by Dr. Made Djelantik. His artistic depth was also documented by author Klaus D. Höhn in the prestigious book The Art of Bali: Reflections of Faith (The History of Painting in Batuan, 1834-1994). Dr. Djelantik praised Sujendra’s work as an embodiment of traditional honesty that dares to strip away decorative complexity for deep spiritual meaning.

A major milestone in his professional journey was the solo exhibition “Hell Sign” (Inferno) at Titian Art Space, Ubud (2018–2019). His international reach has extended to the Netherlands (1995) and the United States through the facilitation of the ARMA Museum. His works are now part of private collections in the Netherlands, Switzerland, Singapore, and the USA. His dedication to art regeneration was manifested as the founder and first chairman of the Baturulangun Batuan Painters Association (2012–2017), where he successfully advocated for Batuan style painting to be included as an extracurricular subject in elementary schools across the village.

Beyond the canvas, Sujendra has served as a Wayang Wong dancer, performing the role of Tualen since 1983. Today, together with his son, he manages Lepo & Son Studio in Batuan, a workspace and learning center open to anyone wishing to delve into the visual secrets of Batuan.

I Made Sujendra, yang lebih dikenal sebagai Sujendra atau akrab disapa Lepo, lahir di Banjar Dentiyis, Batuan, pada Agustus 1964. Ia merupakan sosok unik dalam sejarah seni Batuan karena tumbuh di keluarga yang awalnya tidak memiliki latar tradisi melukis profesional. Bakatnya dibangun melalui ketekunan murni sejak usia sembilan tahun di bawah bimbingan ayahnya, I Wayan Kabetan, yang melatihnya dasar-dasar motif tradisional dan kesabaran melalui teknik menggosok tinta Cina secara manual.

Pendidikan formal Sujendra di bidang seni sangat mumpuni, dimulai dari Sekolah Menengah Seni Rupa (SMSR), kemudian jenjang Diploma (D3) Pendidikan Seni Rupa di Universitas Udayana, hingga menyelesaikan jenjang Strata 1 (S1) di Sekolah Tinggi Keguruan dan Ilmu Pendidikan (STKIP). Secara visual, ia menuangkan simbol-simbol melalui figur hewan dan manusia yang dideformasi secara artistik. Ciri khas yang paling menonjol adalah pembesaran pada bagian tubuh tertentu, seperti hidung dan kepala, untuk mempertegas kedalaman karakter dan "isi" dari tokoh tersebut. Keaslian karyanya juga terletak pada kesederhanaan simbolik melalui garis; garis lurus melambangkan kemurnian Tuhan, kebenaran, dan keteguhan iman, sementara garis merah berlekuk menggambarkan energi negatif atau godaan duniawi.

Karier profesionalnya menanjak secara signifikan sejak partisipasinya di Pesta Kesenian Bali (PKB) tahun 1985. Karyanya yang ikonik, "The Greedy Place - Tantri" (1984), dimuat dalam buku Images of Asia: Balinese Painting karya Dr. Made Djelantik. Kedalaman artistiknya juga didokumentasikan secara luas oleh penulis Klaus D. Höhn dalam buku prestisius The Art of Bali: Reflections of Faith (The History of Painting in Batuan, 1834-1994). Dr. Djelantik menilai karya Sujendra sebagai perwujudan kejujuran tradisi yang berani menanggalkan kerumitan dekoratif demi makna spiritual yang mendalam.

Tonggak penting dalam perjalanan profesionalnya adalah pameran tunggal bertajuk “Hell Sign” (Inferno) di Titian Art Space, Ubud (2018–2019). Jejak internasionalnya telah menjangkau Belanda (1995) dan Amerika Serikat melalui fasilitasi ARMA Museum. Karyanya kini menjadi bagian dari koleksi pribadi di Belanda, Swiss, Singapura, dan Amerika Serikat. Dedikasinya terhadap regenerasi seni terwujud sebagai penggagas sekaligus ketua pertama Perkumpulan Pelukis Baturulangun Batuan (2012–2017), di mana ia berhasil memperjuangkan seni lukis Batuan menjadi mata pelajaran ekstrakurikuler di SD seluruh Batuan.

Selain melukis, Sujendra juga mengabdi sebagai penari Wayang Wong memerankan tokoh Tualen sejak 1983. Saat ini, bersama putranya, ia mengelola Lepo & Son Studio di Batuan, sebuah ruang kerja sekaligus tempat belajar melukis yang terbuka bagi siapa saja yang ingin mendalami jati diri tradisi Batuan.

Style: Traditional Balinese, Batuan Style - Intangible Cultural Heritage of Indonesia

Mediums: Chinese Ink & Acrylic