Between Heaven and Earth

April 17 - June 27, 2021

Interested in light’s ability to simultaneously reveal and distort, in the slow moment of contemplation, in the mundane yet sublime, Chintia Kirana’s work is an exploration of duality, an accumulation of time passed, and a poetic representation of words unspoken.

For the past decade those interests have led to the exploration of an interdisciplinary approach to art making. Kirana’s research combines philosophical and geographical ideas from her upbringing: East/West, Christian/Buddhist, etc. She is interested in the dismal reality of inevitable collapse, especially in the fleeting nature of life; not only as a visual language but also as a creative process. In her studio practice, time becomes an important factor not only as a process but also as a material. Materials used to create the work such as ashes (to make ink) and carbon build up (which later are compressed into charcoal) are collected over time. Collecting is a way to materialize the ephemeral quality of time. These materials are accumulated through ceremonial ritual, daily consumption and collaboration with the local community.

Kirana is a multidisciplinary artist and art activist. Throughout the span of a decade, her work has been featured in solo, group, and juried exhibitions across the United States and abroad in venues such as Whitney Museum of American Art, Montgomery Museum of Fine Arts, Dhaka National Museum of Art, Sienna Art Academy, Zhou B Art Center, ISE Cultural Foundation, and Czong Institute of Contemporary Art, among others.

Born in Jakarta, Indonesia, she was captivated by the art world at an early age. Due to a political uprising in 1999, she and her family left Indonesia and immigrated to the United States. Chintia holds a Master of Fine Arts degree in Painting & Drawing from Southern Illinois University Carbondale. She is the founder of Expose Art and MAP (Montgomery Arts Project). She is the 2019-2020 Alabama State Council on the Arts Visual Arts Fellow.

Featured Above: Chintia Kirana, Silver Lining Series: Rising Sun No. 5, 2019, Acrylic and graphite

Youth Art Education Policy

Outside of tours, family days, and open house events, individuals who are not enrolled in a class are not allowed in WMA classrooms except by written permission of the Executive Director. Parents may not join children in the classroom during instruction times in order to ensure an atmosphere conductive to creativity. It is important to limit the number of adults to keep the focus on the kids, their learning, and to accommodate limited seating in the studio. Parents are welcome to stay in the museum during class but must remain outside of the classroom during instruction time.

Museum educators are experienced in creating positive learning environments for all ages and are required to go through a background check to ensure the safety of our students. Parents and guardians are encouraged to visit the studio at the end of class to see what their child has created. All docents and volunteers working with children are also required to go through background checks.

Thank you for understanding our policy and priority on the safety and well-being of participating students.

Refund Policy

The Wiregrass Museum of Art may cancel any class with insufficient enrollment; students will be notified and given a full refund. If a student withdraws at least 1 week before the class begins, he/she will be refunded for the full cost of the class. If a student withdraws 24 hours before the class begins, he/she will be refunded for half the cost of the class. There are no refunds after the start date of class, and membership fees are nonrefundable. Students are not enrolled until complete payment is received.

Terms and Conditions

The Wiregrass Museum of Art reserves the right to photograph and reproduce chosen works publication, publicity, and educational purposes. Participation in this exhibition shall be an agreement on the part of the artist to these conditions. The museum reserves the right to exclude works submitted without appropriate preparation (documentation, mounting hardware, suitable frame/mat, etc.), or which are damaged or incomplete. The museum is not responsible for the safekeeping of any works left in its care ninety (90) days after the close of the exhibition.

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