FRAGMENTED NAÏVE-DECORATIVE FIGURATION AS A REPRESENTATION OF SOLASTALGIA IN CONTEMPORARY PAINTING

This study aims to represent solastalgia, the distress of watching one's home environment change, through six contemporary paintings that use fragmented naïve-decorative figuration in response to land-use change in Bali. A practice-based creative research approach was applied, following Gustami's stages of exploration, design, and realization and Chapman's model of artistic creation. Exploration combined field observation at two sites in Denpasar and Gianyar, photographic documentation, literature review, and personal reflection, which were compared in a mind map to produce the concept of Resonance. The paintings were realized in acrylic and acrylic marker on canvas and then analysed through composition, colour, and symbolic motif. The findings identify four visual strategies: fragmented spatial organization that replaces linear perspective, stylized faceless figures, recurring symbols of temples, subak, roads, and construction, and saturated decorative colour that sets visual pleasure against ecological anxiety. Together these strategies present a landscape that remains recognizable while losing its coherence, which is the experience of solastalgia. The study implies that Resonance can serve as a working concept linking environmental change, emotional reflection, and ecological awareness in practice-based research, and that fragmented naïve-decorative figuration offers one documented visual approach for environmental emotions. The findings come from a single practice in the Balinese context and invite comparison with other media and communities.