# Batik moves from pattern to modern abstraction / 蜡染，如何从花纹走向现代抽象？ — Hu Chao 胡超

Source: https://www.huchaocurator.com/exhibitions/bali-island/research/batik-and-modern-art/

## English

[Selected curatorial projects](https://www.huchaocurator.com/exhibitions/) / [Bali Island](https://www.huchaocurator.com/exhibitions/bali-island/)

[Exhibition](https://www.huchaocurator.com/exhibitions/bali-island/)[Research notes](https://www.huchaocurator.com/exhibitions/bali-island/research/)[International symposium](https://www.huchaocurator.com/exhibitions/bali-island/symposium/)[Selected works](https://www.huchaocurator.com/exhibitions/bali-island/works/)[Installation views](https://www.huchaocurator.com/exhibitions/bali-island/gallery/)[Full introduction](https://www.huchaocurator.com/exhibitions/bali-island/introduction/)[Catalogue & sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

BALI ISLAND / CURATORIAL RESEARCH

# Batik moves from pattern to modern abstraction

Tay Mo-Leong’s works show a textile process becoming a medium of modern artistic experiment.

Tay Mo-Leong · batik · cultural identity

Tay Mo-Leong’s batik works range from recognisable subjects to strongly coloured abstract compositions. Stone Pattern Series, SF1–3, dated 1975, brings the resist-dye process into experiments with rhythm, colour and pictorial space. The fabric remains visible as a material with its own possibilities.

The catalogue follows batik across painting, everyday dress and the uniforms associated with Singapore Airlines. These settings give the same process different public meanings. In the exhibition, batik offers a way to examine how a regional craft becomes an artistic medium and participates in the making of cultural identity.

[

Image: Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975 / 戴懋龙，《石头花纹》系列 SF1–3，1975

](https://www.huchaocurator.com/assets/bali-exhibition/tay-stone-pattern.webp)

Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975BatikImage / collection: Collection of Lee Khai

[

Image: Tay Mo-Leong, Crab, 1990 / 戴懋龙，螃蟹，1990

](https://www.huchaocurator.com/assets/bali-exhibition/tay-crab.webp)

Tay Mo-Leong, Crab, 1990BatikImage / collection: Collection of Lee Khai

[

Image: John Clang, The Land of My Heart, 2014 / John Clang，The Land of My Heart，2014

](https://www.huchaocurator.com/assets/bali-exhibition/john-clang-heart.webp)

John Clang, The Land of My Heart, 2014PhotographyImage / collection: Courtesy of the artist

CATALOGUE SOURCE

Bali Island: Art and the World Beyond the Rainforest, 2026. Catalogue text by Hu Chao. PDF pages 49, 50, 51.

[About the catalogue and sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

CONNECTED RESEARCH

[A woodcut looks beyond the tropical view](https://www.huchaocurator.com/exhibitions/bali-island/research/woodcuts-and-social-life/)[An island’s building debris becomes pigment](https://www.huchaocurator.com/exhibitions/bali-island/research/construction-debris-pigments/)

EXHIBITION RECORD & RELATED CHANNELS

[GAFA Art Museum · official exhibition page](https://artmuseum.gzarts.edu.cn/info/1249/9719.htm)[GAFA Art Museum · e-flux announcement](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest)[Catalogue, credits & sources](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

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## 中文

[主要策展](https://www.huchaocurator.com/exhibitions/) / [巴厘岛](https://www.huchaocurator.com/exhibitions/bali-island/)

[展览详情](https://www.huchaocurator.com/exhibitions/bali-island/)[图册中的研究线索](https://www.huchaocurator.com/exhibitions/bali-island/research/)[国际研讨会](https://www.huchaocurator.com/exhibitions/bali-island/symposium/)[精选作品](https://www.huchaocurator.com/exhibitions/bali-island/works/)[展览现场](https://www.huchaocurator.com/exhibitions/bali-island/gallery/)[完整介绍](https://www.huchaocurator.com/exhibitions/bali-island/introduction/)[图册与相关发布](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

巴厘岛 / 策展研究

# 蜡染，如何从花纹走向现代抽象？

戴懋龙的作品呈现了一种纺织工艺成为现代艺术实验媒介的过程。

戴懋龙 · 蜡染 · 文化身份

戴懋龙的蜡染作品从可辨认的生活题材，延伸至色彩强烈的抽象构图。1975年的《石头花纹》系列 SF1–3，把防染工艺带入节奏、色彩与画面空间的实验，织物也保留着自身的材料表现力。

图册沿着绘画、日常服饰与新加坡航空的制服，讨论蜡染在不同场合获得的公共意义。展览由此追问一种区域工艺如何成为艺术媒介，并进一步参与文化身份的形成。

[

Image: Tay Mo-Leong, Stone Pattern Series, SF1–3, 1975 / 戴懋龙，《石头花纹》系列 SF1–3，1975

](https://www.huchaocurator.com/assets/bali-exhibition/tay-stone-pattern.webp)

戴懋龙，《石头花纹》系列 SF1–3，1975蜡染布匹图片／收藏：Lee Khai 收藏

[

Image: Tay Mo-Leong, Crab, 1990 / 戴懋龙，螃蟹，1990

](https://www.huchaocurator.com/assets/bali-exhibition/tay-crab.webp)

戴懋龙，螃蟹，1990蜡染布匹图片／收藏：Lee Khai 收藏

[

Image: John Clang, The Land of My Heart, 2014 / John Clang，The Land of My Heart，2014

](https://www.huchaocurator.com/assets/bali-exhibition/john-clang-heart.webp)

John Clang，The Land of My Heart，2014摄影图片／收藏：艺术家提供

图册来源

《巴厘岛：雨林外的艺术与世界》，2026年。图册撰文：胡超。PDF第49, 50, 51页。

[关于图册与资料来源](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

继续探索

[雨林之外，木刻中的社会生活](https://www.huchaocurator.com/exhibitions/bali-island/research/woodcuts-and-social-life/)[把岛屿的建筑废墟，变成颜料](https://www.huchaocurator.com/exhibitions/bali-island/research/construction-debris-pigments/)

展览记录与相关发布

[广州美术学院美术馆 · 官方展览页](https://artmuseum.gzarts.edu.cn/info/1249/9719.htm)[广州美术学院美术馆 · e-flux发布](https://www.e-flux.com/announcements/6787417/bali-island-art-and-the-world-beyond-the-rainforest)[图册、致谢与资料来源](https://www.huchaocurator.com/exhibitions/bali-island/resources/)

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