威古納‧瓦拉薩拉 Made Wiguna Valasara

伊日藝術計劃台北空間現正展出聯展《魔幻日常》，展期自 2026 年 9 月 10 日至 10 月 31 日。本展呈現印尼藝術家 Made Wiguna Valasara（威古納‧瓦拉薩拉）的作品。

Valasara 於 1983 年生於印尼峇里島吉安雅縣蘇卡瓦蒂，曾就讀登巴薩 SMSR 視覺藝術高中，並於 2007 年畢業於日惹印尼藝術學院。最初主修雕塑的他，後來轉向繪畫，這段跨媒材的學習經驗也持續影響他對畫布、形體與空間的理解。

作為一名生活與創作於峇里島的當代藝術家，Valasara 長期思考地方藝術傳統如何在當代被重新觀看與轉化。他不將傳統視為固定不變的文化遺產，而是將峇里島神話、傳統文化符號、流行圖像與個人經驗並置，探討文化身份如何在當代生活、社會結構與殖民歷史的影響下持續被重新建構。

Valasara 以填充塑形的白色畫布聞名。他將畫布從承載圖像的平面，轉化為兼具繪畫、雕塑與浮雕特質的立體表面。峇里島神話、傳統文化符號與流行圖像不再依靠鮮明色彩呈現，而是透過輪廓、起伏與光影逐漸浮現。隨著觀看位置與環境光線改變，原本隱藏於白色表面中的形象也呈現不同的清晰程度。
本次展出的《Chrysopoeia Series 1》創作於 2019 年。系列名稱源自煉金術，意指將普通金屬轉化為黃金的過程。Valasara 並未以金色或華麗材質直接呈現煉金術，而是運用近乎單色的白色畫布，塑造螺旋、月牙、花形、日輪與幾何結構等象徵性圖像。這些形式可能使人聯想到自然、信仰或宇宙秩序，看似熟悉，卻無法被歸入單一而固定的意義系統。

透過填充與塑形，平面的畫布產生凹凸、張力與陰影。從正面觀看時，部分圖像近乎隱沒；當觀者移動，光線在表面流轉，原本安靜的形象才逐漸顯現。在這裡，光線不只是照亮作品，也實際參與了圖像的形成，使觀看成為一個持續辨識與重新理解的過程。

Valasara 將煉金術所指向的「轉化」，從金屬的變化延伸至材料、圖像與觀看之間。平面轉為立體，空白浮現形象，原本帶有文化聯想的符號也獲得新的解讀。作品同時提出關於價值的思考：意義與價值是否原本就存在於事物之中，或是在觀看、辨認與命名的過程中逐漸形成？

呼應《魔幻日常》的策展核心，這組作品中的「魔幻」並非來自奇觀，而是發生於觀看中的細微變化。看似空白的表面隱藏著形象，熟悉的符號也在脫離原有脈絡後逐漸變得陌生。Valasara 透過近乎無色的畫面，使現實游移於顯現與隱藏、平面與立體、熟悉與未知之間，也讓每一次觀看都成為重新理解圖像、文化與價值的過程。

YIRI ARTS Taipei is currently presenting Magical Everyday, a group exhibition on view from September 10 to October 31, 2026. The exhibition includes works by Indonesian artist Made Wiguna Valasara.

Born in 1983 in Sukawati, Gianyar, Bali, Valasara studied at SMSR, the visual art high school in Denpasar, before graduating from the Indonesian Institute of the Arts, Yogyakarta, in 2007. Initially trained in sculpture before turning to painting, he continues to draw upon both disciplines in his understanding of canvas, form, and space.

Living and working in Bali, Valasara has long considered how local artistic traditions may be reinterpreted through contemporary experience. Rather than treating tradition as a fixed cultural inheritance, he brings Balinese mythology, traditional symbols, popular imagery, and personal experience into dialogue, examining how cultural identity is continually reconstructed through contemporary life and the complex legacies of social and colonial history.

Valasara is widely recognized for his white stuffed canvases, which transform the traditionally flat surface of painting into a physical form situated between painting, sculpture, and relief. Balinese mythology, traditional cultural symbols, and popular imagery no longer depend on vivid color, but gradually emerge through contour, volume, and shadow. As the viewer’s position and the surrounding light change, images concealed within the white surfaces appear with varying degrees of clarity.

Presented in this exhibition, Chrysopoeia Series 1 was created in 2019. The title refers to the alchemical process of transforming base metals into gold. Rather than depicting alchemy through gold or visual opulence, Valasara works with an almost entirely white surface, shaping symbolic images such as spirals, crescents, floral and solar motifs, and geometric structures. These forms may evoke nature, belief, or cosmological order. Although seemingly familiar, they resist being assigned to a single, fixed system of meaning.

Through stuffing and shaping the canvas, Valasara introduces volume, tension, and shadow into the painted surface. Viewed directly, some forms appear almost concealed. As the viewer moves and light travels across the surface, the quiet images gradually become visible. Here, light does not simply illuminate the work; it actively participates in forming the image, turning perception into an ongoing process of recognition and reinterpretation.

Valasara relocates the idea of alchemical transformation within the relationship between material, image, and perception. A flat canvas acquires volume, a seemingly blank surface reveals an image, and culturally familiar signs become open to new interpretations. The series also raises questions about value: whether meaning and value are inherent in an image or gradually produced through acts of looking, recognition, and naming.

In dialogue with Magical Everyday, the magical emerges through subtle shifts in perception rather than through spectacle. Images remain concealed within apparently blank surfaces, while familiar symbols become strange once removed from their usual contexts. Through an almost colorless visual language, Valasara allows reality to remain suspended between visibility and concealment, flatness and volume, familiarity and the unknown. Each encounter becomes an opportunity to reconsider how images, cultural meanings, and values are formed.