A dynamic and vigorous composition, Jauk Manis Dancer is a compelling example of the impulsive nature of Indonesian artist Affandi’s expressionist style. Through the artist’s signature ‘squeeze technique’, the subject is animated through spontaneous writhing strokes. Painting on-site and with a fast tempo in order not to lose momentum, Affandi eliminated the use of the brush and applied paint directly to the canvas to spread with his fingers. The vivid textures formed of contrasting colours, as seen in Jauk Manis Dancer, intermix to create highly energetic scenes that illustrate life with a sense of brilliant emotional clarity.

In his practice, Affandi was allured by the pursuit of depicting the everyday quotidian of Indonesian culture, people, and its landscapes. As dance is an ancient tradition deeply rooted in the religious and artistic expression among the people of Bali, Affandi revisited the motif numerous times during his sojourns to the island. The Jauk dance, as depicted in the present lot, portrays the tale of a king of giants from the ancient kingdom, exploring the world through a dynamic performance. With bulging eyes and an eerie smile, a performer donning a black mask would represent a more fearsome giant. In stark contrast, a white mask, as seen in the present lot, represented a much gentler giant who would charm the audience with a welcoming grin. In both versions of the performance, masked dancers must convey emotion and character through gestures alone. The chaotic nature of the present lot’s composition thus reflects the lively subject that is portrayed.

Painted at a later stage of the artist’s life, Jauk Manis Dancer is also exemplary of Affandi’s matured artistic vocabulary that received frequent praise from international art critics nearly everywhere he went, including John Berger who proclaimed Affandi to be a “painter of genius.” (John Berger, ‘A Painter of Genius’, The New Statesman and Nation, 31 May 1952). In addition to exhibiting internationally and receiving numerous international awards throughout his career, Affandi’s practice has been widely published, confirming his position within the lexicon of art history as Indonesia’s most respected modern master painter.