

This morning the sun was burning holes through the smog and I
sweated my way through the vibrant Central and Soho.
- Breakfast at the American-palate friendly Flying Pan (yes, that's an L, not an R.)
- Exploring the ancient Chinese art galleries along Hollywood Road
- Leisurely reading through The List ( expat magazine) at Pacific Coffee
- Strolling through the costume shops of LKF (it's like Bourbon Street in New Orleans, complete with feathery masquerade masks)
Finally, I couldn't take the heat anymore. I popped into the luxurious International Financial Center Mall, heard some live piano music, and eventually stumbled onto an art installation in one of the
atriums.
I was enraptured.
This was my
first interaction with the hyper-realism work of Indonesian artist
Budi Ubrux, whose latest oil paintings of newspaper-wrapped figures resonate with a pure conscious I have lately found lacking in New York.
Meticulously-painted headlines cling to the animated human forms, encasing them in news of the financial crisis, women's right to enter the workforce, and global warming.
His technique is heart-stopping
trompe-
l'oeil (literally, "fool the eye"). Viewed from even just 2 feet away, I was absolutely certain that there would be a strong surface texture like paper
mache. But when I was up close (so close the guards came over, but it was still worth it to see!), I could see that the surface was perfectly flat, entirely 2-dimensional. What a gift.
And what a bold man to speak out, through his work, about the storm headlines swirling around him. I wanted to fly immediately to his studio and paint
with him, to feed off that intensity with which he must work to achieve such hyper-realism.
Outside, a typhoon was brewing (this is like a really
intense hurricane) and I hurried back to my uninspiring neighborhood of Fortress Hill to buy groceries before the rains hit. On the way, I passed by newspaper headlines about the deadly bombing in Jakarta, Indonesia.
Budi Ubrux's country. The words seemed surreal on the flat surface of a stack of newspaper, like they were made light simply because they were typed and neatly stacked. I wanted to see the human forms that
Budi Ubrux would build from those papers. I wanted him to translate that flatness into 3-dimensional forms in his imagination, then back into the two dimensions of the canvas. With his brush, the absurdity of the bombings would melt away.