Minimalist Art Exhibition Debuts at Project Etere's Ubud Residence in Bali
Project Etere's Penestanan residence in Ubud hosts DERAU dan KEMARAU, a minimalist exhibition by Indonesian artist Oshi Naryose. The show runs 14 and 15 March 2026, exploring clarity through reduction.
A striking new art exhibition is set to open at Project Etere's residence in Penestanan, Ubud, placing Bali at the heart of a conversation about minimalism and clarity in contemporary art. Titled DERAU dan KEMARAU, which translates to Noise and Drought, the show presents the work of Indonesian artist Oshi Naryose across two days only, on 14 and 15 March 2026.
The exhibition embraces the creative idea that less is more, demonstrating how stripping away unnecessary elements can sharpen meaning and strengthen the connection between an artwork and its viewer. By economising the visual language, Naryose achieves a quiet power that invites audiences to look more closely and think more deeply.
At the centre of the display is a site-specific wall installation called Heaven and Earth and Ten Thousand Things are One, created in 2025. Measuring 140 by 50 centimetres with a height of 45 centimetres, the piece is built from iron plate, metal, paint, and wood. What first appears almost puzzling can be taken apart and reassembled, opening up to reveal its symbolic layers and meaning.
The work greets the eye with a playful arrangement of singular, colourful forms. Organic curves and gentle arches sit alongside firm straight lines, while flat surfaces blend into a sense of movement and visual delight. It is one of several two and three dimensional pieces by Naryose featured in the exhibition.
The title carries deep personal significance for the artist. Naryose explained that Noise and Drought grew from a personal condition that became both the foundation of his practice and the lens through which he responded to reality. He described deliberately placing himself in a state of drought, a condition of scarcity and dryness, in order to perceive reality with greater sensitivity and precision.
For Naryose, reality extends beyond what can be touched or named. He spoke of illusions, meaningless sounds, inaccessible spaces, and absences, phenomena that often escape language altogether. By imagining himself as cracked and parched soil, he hoped that any rain arriving could be absorbed instantly, without being filtered through words or fixed interpretations.
The featured installation draws inspiration from the Balinese sanggah, the family or community shrine used for prayer and offerings. With his studio based in Gianyar, Naryose roots his contemporary vision in the spiritual and cultural fabric of Bali, making the exhibition a meaningful encounter for both local and visiting art lovers in Ubud.
