About Uuk Paramahita
I Made Gede Paramahita aka Uuk Paramahita. Contemporary Indonesian artist from central Denpasar Bali. Uuk’s works often feature small figures set against broader thematic issues. Mapping the world through a visual simplicity that holds within much deeper and poignant philosophical observations.
Getting To Know Uuk Paramahita
Uuk Paramahita is a conceptual cartographer. Not mapping terrains or boundaries of landmarks. Instead, he maps feelings and emotions. By what he terms an ‘exploration of the feeling of release and the emotional effects of his process’ he maps the emotional states one feels through life’s daily routines. Translating them into a visualisation of that journey. Very much through an expressive mapping that tells its own story.
As long as we’re living and creating, we’re always learning and evolving. This continuous process is crucial; we never stop or go backward in our artistic journey.
Uuk Paramahita
Little People in a Big World
With an innocent straightforwardness, his paintings contain a world of little people, navigating what seems to be their paths, each telling their stories. Rich with a visual plot that we can explore, they resemble a maze of colours and lines that invite us to dig into each little world. There we find layers of meaning that shed light on life’s daily challenges, with a fundamental optimism and mature idealism that reverberates in its centre.
Biography
Uuk Paramahita was born in Denpasar on April 17, 1978. He completed his art education at ISI Bali. Since 2001, Uuk has participated in numerous joint exhibitions both locally and internationally. Notable exhibitions include “20 Finalists of Nokia Art Award” in Jakarta, 2001, “The Faces” at Junge Gesichter, Agon e.V, Passau, Germany, 2012 and “The Fourth Silk Road International Art” at the Shaanxi Provincial Museum of Fine Art, Xi’an, China, 2017.
Exhibitions
2000-2010
- 2001, 20 Finalists of Nokia Art Award: “Facing the World,” National Archive Museum, Jakarta
- 2004, Ten Faces*, ARMA Museum, Ubud, Bali
- 2005, Bali Biennale: Space and Scape, Komaneka Gallery, Ubud, Bali
- 2005, Solo Exhibition: Attention to Nature and Life, Three Monkey Art, Ubud, Bali
- 2006, Aku Ke Dua (My Second Self), Danes Art Veranda, Denpasar, Bali
- 2007, Me Between Us, Tony Raka Gallery, Bali
- 2008, Tale of Two Cities, Sangkring Art Space, Yogyakarta
- 2008, Faces: Young Faces, Agon e.V., Passau, Germany
- 2009, Survey II, Edwins Gallery, Jakarta
2011-2020
- 2011, Sabah International Folk Art Festival, Balai Penampang, Kinabalu, Sabah, Malaysia
- 2012, Beijing International Art Biennale: Future and Reality, National Art Museum of China, Beijing
- 2013, Sense Ability, Sudakara Art Space, Sanur, Bali
- 2014, Magic of Bali, Ira Kizky Gallery, Frankfurt, Germany
- 2015, Beijing International Art Biennale: Dreams & Memory, National Art Museum of China
- Art China 2015, China National Agriculture Exhibition Center, Beijing, China
- 2016, Gorgeous Chapter: Indonesia – China Exhibition, CAFA Art Museum, Beijing, China
- 2017, The Silk Road International Art, Shaanxi Provincial Museum of Fine Art, Xi’an, China
- 2017, Beijing International Art Biennale: Silk Road, National Art Museum of China, Beijing
- Imago Mundi: The Art of Humanity, Bentara Budaya, Yogyakarta, 2017
- 2018, Spirit of Nature: Militant Art, Breeze Art Space, Jakarta
- 2019, Viewpoint, Maya Sanur Resort, Bali
- Bali Megarupa, Museum Neka, Ubud, Bali 2019
- Frame of the Republic of Indonesia Exhibition, ART1 Art Space, Jakarta 2019
- Mahardika, Titian Art Space, Ubud, Bali 2019
- 2020, The Divine Step, Galeri Zen 1, Tuban, Kuta, Bali
2021- Present
- 2021, FREEDOM, Titik Dua Art Space, Mas, Ubud, Bali
- 2022, Formabilitas, Zen 1 Gallery, Tuban, Kuta, Bali
- 2023, Awakening, The Villa Gallery, Surabaya
- The Ninth Silk Road International Art, Shaanxi Fine Arts Museum, Xi’an, China
A Conversation with Uuk Paramahita
How did your interest in art begin?
I began studying fine art at university in 1997. Initially, I wasn’t deeply involved in painting, as I pursued SMSR to avoid sciences and math. My interest in art grew gradually, and I was fortunate to be part of a talented cohort, including peers like Kun and Gus Toke, who were high performers and received numerous awards. Their spirit and our social interactions were a significant source of motivation for me.
From the beginning, I gravitated toward 2D work. I found that this medium resonated with me, although I didn’t consciously choose it over others. It was more about finding a media that responded well to my exploration rather than a deliberate choice.
Uuk Paramahita
You also explored 3D work. Was there anything specific you were looking for in this medium?
My exploration of 3D work happened more by chance. I found that the mixture of colours and techniques in 2D work was satisfying. During my time in school, I wasn’t focused on creating complex or contrived pieces. I aimed to enjoy the process and explore colours and materials honestly.
I haven’t faced many external challenges that I would call upsetting. Most frustrations come from within. The most memorable experiences are the unexpected opportunities, like a student advancing a grade due to unforeseen chances.
Uuk Paramahita
Painting helps dissipate negative feelings and thoughts. The act of creating is therapeutic, turning negative emotions into a productive process. While I usually work alone at home, I find great inspiration in interactions with other artists. Gatherings and collaborations are energizing for me, providing a significant source of creative energy.
Uuk Paramahita
What are your thoughts on creative collaborations?
Collaboration does not diminish individual identity. Each person brings their unique strengths to the project, and I believe collaboration can help individual identities grow. It’s about balancing and integrating various aspects, which enhances the collective outcome.
How does your process of creating art influence your aesthetic?
I view my process as a way of subconsciously organizing disorder into order. This organic structuring contributes to the aesthetic of mapping in my work.
Regarding thematic exploration, what are you focusing on in your current work?
I explore themes of release and the emotional effects of my process. Often, I don’t start with a preconceived theory; it’s more about an organic exploration. My figures might appear happy or be searching for happiness, reflecting a desire to show positive or hopeful aspects rather than unhappiness.
