Exhibited at:
Cemara 6 Museum-Galeri (21 June - 31 July 2015)
Jl. HOS Cokroaminoto 9-11, Jakarta 10350
Sangkring Art Space (14 - 31 August 2015)
Nitiprayan Rt 1 Rw 20 No.88 Ngestiharjo, Kasihan, Bantul, Yogyakarta 55182


opneing   sangkring

Between the lines is an exhibition from Dutch artist Noella Roos, who will show 20 large (150 by 180 cm) drawings and two documentary’s about the working process. Noella will show the large size drawings that were made with the dancer as model who dances on live music. In this project Noella Roos is working with two other artist from different backgrounds: Fendy Rizk contrabass player from Java and Ari Rudenko a dancer from USA. Their aim is to bring dance, drawing and music together for the public as one piece of art.  On the opening there will be live music, contrabass player and dance, and live drawing.

Why this exhibitinon called Between The Lines? Noella said : “Between the Lines are drawings, figures made from lines, emotions captured in lines. The drawings are projections from the dancer, the music and me. They are the unspoken words from the artists, who work together.” Between the Lines is an art project about the language that is not written, but just expressed.

'Between the Lines' shows how Noella’s express sensuality, life, emotion in between lines in her drawings. Dance, music and drawing are three different lines joining in one work of art. The drawing artist’s can’t make these drawings without having contact with the dancer. It means that they both work until there is contact in the work, without words. This also happens with the music. It is an exchange between three artists. Communicating without words, sharing the same energy. The Balinese have a name for it: Taksu, the energy you have inside to express and feel the art deeper. Not only the movement (steps) of the dancer, but the real meaning of the dance can be felt by three of them and by the public. Noella explain that they are working towards trance in a couple of hours, when this Taksu or inner energy comes free. And they all experience when the ego vanishes and trance takes over, and they  work on the same energy. Out of this comes their best work. “The dancer knows without seeing the drawing what the drawer makes. The dancer feels in his body what the musician is playing. The musician plays what the artist draws.” She continues to explain.

The musician Fendy Rizk also added: “After a four hours session, I draw and dance today. If I play softer you both work softer, if I play louder, you both work more expressive”. Same goes for the dancer –Ari Rudenko-  We all feel each other’s energy and art. And with this we can make more intense work.”

The work process and conversations have been recorded on video, and will be showing during the exhibition. Drawings, music and dance are only the left over from a shared moment. This exhibition focuses on the interaction and reinforcement of the three media (dance, music, drawings) with a single denominator: joint energy.

This exhibition was before held in Cemara 6 Galeri-Museum in Jakarta. On the opening night the audience were stunned by the performance of Ari Rudenko (dancer) and Fendy Rizk who was playing music that he composed for Between The Lines. And the dancer and musician also influenced by the energy from the audience. On the opening exhibition at Sangkring Art Space they were showing different happening. Noella Roos, did live drawing to show the joint energy with the other, Ari and Fendy.


“Between the Lines is an art project about the language that is not written, but just expressed.”





Born in Amsterdam, the Netherlands, in 1969.  She studied at the Royal Academy of Art in The Hague/NL, Academy for Schone Kunsten in Antwerp/Belgium, and Academy Minerva in Groningen/NL.

Noella has been drawing dancers for 25 years, the last five years with modern dancers in Bali. She is inspired by a thorough understanding of anatomy of the human body, composition, materials and arabesque (the line and pattern of the body in movement). She enjoys the challenge of combining classicism with a contemporary approach of the portrayal of human emotion.

Noella Roos had solo exhibitions in Hong Kong, The Netherlands, Vietnam, Sri Lanka, Korea, Indonesia (Jakarta and Bali), and India; and participated in group exhibitions in the UK (London), Belgium and The Netherlands and at prestigious art fairs in The Netherlands: the Realism Fair in Amsterdam and the Open Art Fair in Utrecht.

For Noella, drawing is to find a way to express the meeting between the dancer and the visual artist, to meet in emotion and sensuality and to translate this onto the paper.


FENDY RIZK (contrabass player)


Born in Blitar, Java/Indonesia in 1988. In 2009 he started his career in music seriously. His music inspirations influenced by some musicians: Hemy Agustrian, Eko Sumarsono, Rabath, Ray Brown, Paul Chamber, Oscar Pettyford and many more. His music preference lies in the classical and jazz world. With his talent on contrabass music he participated in many shows, e.q: Ubud Village Jazz Festival, Jazz Market, Jazz Bromo, Sanur Village Festival, Toraja World Music Festival, and many more.  He also initiated the jazz music project of Fendy Rizk Trio that regularly perform in Bali. For Fendy, music is about learning, practicing and working with honesty.


ARI RUDENKO (dancer)


Masters in Fine Arts (S2 Seni) - Interdisciplinary Fine Art (2014 - Current) at Goddard College, Washington, USA (low residency).  Concentration in Dance, Visual Art, and Indonesian Studies. Darmasiswa Scholar (2012-2013) at Art Institute of Indonesia Denpasar (ISI Denpasar) in Balinese Dance. BA (S1) in Liberal Arts (with honors) (2007 - 2011) at Shimer College, Chicago, concentration in Humanities. Shimer in Oxford Scholar (2010-2011) at Kings College, Oxford University, UK, concentration in Psychology of Religion and Sinology (Daoism studies and classical Chinese translation)

Dance-theater performance crafted in a contemporary and unique style, developed from training in Japanese Butoh dance technique (training with Blushing Poppy Productions, Diego Pinon, Ko Murobushi, Waguri, Katsura Kan, Macarena Ortuzar, Cafe Reason, Mana Hashimoto) and study of Indonesian dance forms (Didik Nini Thowok (LKP Tari Natya Lakshita), ISI Denpasar, Ni Ketut Partini, Dewa Nyoman Irawan, Made Cat, Putu Sri Purnama).  Performances crafted individually, and in collaboration with Blushing Poppy Productions (Chicago, USA), Ruang Asah Tukad Abu (Denpasar, Bali, Indonesia), and Gamelan Narwastu (Denpasar, Bali, Indonesia). 

Arts and Culture Research under Goddard College Masters program (dance, visual art, Indonesian and cross-cultural performance studies) and Darmasiswa Scholarship at Art Institute of Indonesia, Denpasar, Bali.  


Working process in the studio

 work in the studio  btl1
Photos by Wai


baby  tb
Drawings by Noella Roos (Charcoal on free acid paper)



1. Why is the exhibition called BETWEEN THE LINES?

Between the Lines are drawings, figures made from lines, emotions captured in lines. But in this exhibition, I also show two documentaries from the working process with three different artists: a dancer, a musician and a drawer working together. Because I strongly believe we all three make my drawings together. The drawings are projections from the dancer, the music and me. They are the unspoken words from the artists, who work together.

Between the Lines adalah gambar, sosok yang terbuat dari garis, emosi yang ditangkap oleh garis. Namun di pameran ini, saya juga menunjukkan dua film dokumenter yang menunjukkan proses kerja bersama tiga seniman yang berbeda: seorang penari, seorang musisi dan seorang penggambar bekerja bersama. Karena saya sangat mempercayai bahwa kerjasama kita bertigalah yang membuat gambar saya secara bersama-sama. Gambar-gambar tersebut merupakan proyeksi dari penari, musisi dan saya. Mereka adalah kata-kata yang tidak terucapkan oleh kami para seniman, yang bekerja bersama.


 2. You work closely with dancers. Why do you choose dancers as subject?

Dancers are moving, and moving makes a drawing alive. I don’t work with posing model because this are fixed ideas, not feelings. I have no fixed concept when I start to work, but during the working process I start to meet the dancer. Is he happy, depressed, in love or just lost his love? Dancers express that in their dance and I use that energy in my drawing. I draw almost every day 4 hours as quick as the dancer dances. I like to meet the dancer without words. We do this through a strong connection, a kind of trance.

Penari selalu bergerak, dan pergerakan  memberikan hidup ke dalam sebuah gambar. Saya tidak bekerja dengan model yang diam berpose, karena pose merupakan ide yang mutlak, bukan perasaan. Saya tidak memiliki konsep yang jelas ketika saya baru mulai bekerja dengan seorang penari, namun dalam perjalanan kami, saya akan mulai ‘bertemu’ dengan sosok sang penari. Apakah dia bahagia, tertekan, jatuh cinta atau baru saja kehilangan orang yang dia cintai. Penari mengekspresikan perasaan mereka ke dalam tarian (gerakan tubuh mereka) dan saya menggunakan energi tersebut dalam karya saya. Saya menggambar hampir 4 jam setiap hari-nya dengan penari secepat tarian yang mereka sajikan. Saya ingin bertemu dengan penari tersebut tanpa menggunakan kata-kata. Kami melakukan pertemuan ini dengan koneksi yang kuat, seperti trance.


3. How long have you worked with dancers in your art?

I work already 25 years with different dancers, but the last two years with one dancer. I like it that you know each other very well and the body from the dancer is really in my knowledge. With a new dancer it is difficult to get used to the change in energy, movements and body. As a consequence, it happens that with a new dancer the nose or a lip is still from my old dancer. If you like to express the energy from a dancer it is easier to go deeper (not to make an outside image, like a passport photo) if you know your dancer.  Also, a real emotion is easier to show to people you know and trust.

Saya sudah bekerja sekitar 25 tahun dengan penari-penari yang berbeda, namun dua tahun terakhir ini saya bekerja hanya dengan satu penari saja. Saya suka ketika kami mengenal satu dengan lainnya dengan sangat baik dan ukuran fisik dari penari tersebut sudah dalam pengetahuan saya. Dengan penari baru biasanya lebih sulit untuk terbiasa lagi dengan perubahan energi baru, gerakan baru maupun tubuh baru. Sebagai hasilnya, sering kali terjadi meski dengan penari baru, bentuk hidung maupun bibir yang tergambar masih berupa bentuk dari penari lama saya. Jika kamu ingin mengekspresikan energi dari penari, bukan hanya membuat kesan kulit luar saja seperti pasfoto, buat saya lebih gampang dengan mengenal lebih dalam penari Anda. Juga, emosi nyata akan terlihat oleh orang bahwa Anda mengenal dan mempercayai.


4. Is there a difference to work with a male or a female dancer? If there is, please explain.

Female dancers are most of the time much softer and dance rounder. But that does not apply to the gay male dancer I work with now. He is more female then my female dancers. With a male dancer you can also work on seduction and attraction, because I am a female. I also like to work with a male dancer because I found it nice to work on the soft side of a male body: Not the macho man, but the Jesus who is falling from the cross. In art history there are hardly any female artists painting male bodies in a sensual way. I found it very beautiful to see a male dancer dance in his insecurities and in his pain of losing a girlfriend. A man often is a symbol of strength but they are as strong as they are soft. Everyone has two sides. With females I like to work on their strong side. For this exhibition I do only men.

Penari perempuan kebanyakan lebih lembut dan bundar dalam berekspresi. Namun hal tersebut tidak berlaku untuk penari gay lelaki yang sedang bekerja sama dengan saya sekarang. Dia lebih perempuan daripada penari perempuan saya. Dengan penari lelaki, Anda juga bisa bekerja dari sisi godaan dan ketertarikan, karena diri saya merupakan seorang perempuan. Saya juga suka bekerja dengan penari lelaki karena saya merasa bekerja dengan sisi lembut dari tubuh lelaki sangatlah menarik, jadi bukanlah wujud lelaki kokoh, namun seorang Yesus yang jatuh dari salib. Dalam sejarah seni, sangatlah jarang ada pelukis perempuan yang melukis tubuh lelaki dengan cara yang sensual. Saya merasa penari lelaki yang me-nari-kan ketidak-yakinan dirinya, rasa sakit kehilangan wanita yang dicintainya, sangatlah indah. Seorang pria biasanya merupakan simbol dari kekuatan, tetapi mereka hanyalah sekuat kelembutan mereka. Setiap orang memiliki dua sisi. Dengan penari perempuan, saya malah lebih suka bekerja dengan sisi kuat mereka. Untuk pameran ini, saya hanya menampilkan karya saya dengan penari lelaki.


5. Please explain more about ‘creating connection’ in art with your model, in this case, the dancer and the music?

If you work for a couple of hours you forget your brain and ego, and start to get into a light form of trance. That’s the time I can draw on the energy from the music and the dancer. That’s the moment I make much better work then drawing a still (non-moving) model. Then I have the feeling the dancer and I make the drawing together. Since a couple of months I work with a live music contrabass player and it’s a fantastic experience to see that we work even more concentrated and also lose track of time totally.  The live music now follows my lines or my dancer. A real interaction.

 Jika Anda bekerja lebih dari 2 jam dengan seorang penari, Anda akan melupakan isi kepala dan ego Anda, dan mulai masuk ke dalam bentuk trance yang sangat ringan. Saat-saat tersebutlah saya bisa menggambar dengan energi yang diberikan oleh musik dan oleh sang penari. Saat tersebut juga merupakan momen dimana saya bisa menghasilkan karya yang lebih baik daripada hanya menggambar model yang duduk diam. Saat tersebut adalah saat saya memiliki perasaan bahwa saya dan sang penari menggambar bersama. Sejak beberapa bulan lalu saya bekerja sama dengan musisi contrabass secara langsung di studio, dan itu merupakan pengalaman yang sangat fantastis ketika kami menyadari bahwa kita bisa bekerja dengan jauh lebih berkonsentrasi dan seperti kehilangan waktu sepenuhnya. Music live sekarang mengikuti garis dari penari saya. Interaksi yang sebenarnya.


 6. Why do you choose paper as your medium?

I find paper a very honest medium. You can’t change mistakes; it’s good or not good. And I can express lines on paper with chalk better then with a brush. Out of a chalk lines I can get more grey scales and more thin and thick lines.

Saya merasa kertas adalah medium yang sangat jujur. Kesalahan yang terjadi tidak bisa diperbaiki; hanya ada bagus atau tidak bagus. Dan juga saya bisa mengekspresikan garis diatas kertas dengan kapur arang lebih baik daripada dengan kuas. Kapur arang menghasilkan goresan dalam skala abu-abu yang luas, dan juga garis-garis tebal tipis yang lebih baik.


7. Noella, you said, “Sensuality is the core of my drawings”. Please explain, and how does it connect to your work.

For me in my work it is a very important point. By sensuality I mean the 5 senses that are used to make my work.  I love the idea that you can smell my dancer via my drawing, or listen to my dancer’s, a cry in the drawing. But I found also sensuality back in soft and hard form in the body from my dancer and hopefully in my drawings.

Bagi saya, hal tersebut sangatlah penting dalam karya saya. Yang saya maksud dengan sensualitas adalah penggunaan 5 indera dalam penciptaan karya saya. Saya mencintai ide bahwa Anda bisa mencium aroma penari saya melalui gambar yang saya buat, atau mendengarkan tangisan penari saya di dalam gambar tersebut. Namun saya juga menemukan sensualitas dalam keras dan lembutnya gerakan tubuh sang penari, dan semoga Anda juga bisa menemukannya dalam karya saya.


8. What does this concept of art add to modern art?

I don’t believe in a separation of modern or classical art. Art will always change: new materials different fashions, different ideas. However, throughout art history, art is an expression of human beings. I don’t feel so much changed between a Michelangelo drawing or the video artist Bill Viola. My concept is very simple: it’s a working process between artists: dancers, a musician and a drawer. In my work, while I draw I meet the other artists and use this energy on my paper. I see this as Pina Bausch who made dance performances from/by the dancers, not for the dancers, like a ballet. What I literally add to modern art is my female side to draw a man in a sensual way. Men have drawn females very sensually, or even. In art I don’t know many female artists who draw sensual men. The most sensual drawings from men are made by gay artists.

Saya tidak mempercayai bahwa ada perbedaan antara seni modern dan classic. Seni akan selalu berubah: material baru, trend yang berbeda, ide-ide yang berbeda. Namun, di sepanjang sejarah seni, seni adalah ekspresi dari keberadaan manusia. Saya tidak merasakan banyak perbedaan antara gambar dari seorang Michelangelo atau seniman video Bill Viola. Konsep saya sangatlah sederhana: ini adalah proses bekerja sama antara seniman: penari, musisi dan penggambar. Dalam karya saya, ketika saya menggambar, saya bertemu dengan seniman lain dan menggunakan energi ini dia tas kertas saya. Saya melihat ini seperti Pina Bausch yang menciptakan pertunjukan tari dari/oleh para penari, bukan untuk penari, seperti ballet. Yang saya kontribusikan secara literal kepada seni modern adalah sisi saya sebagai wanita yang menggambar sosok pria dengan sensual. Selama ini selalu wanita yang menjadi model sensualitas oleh penggambar pria. Dalam dunia seni, saya tidak mengenal banyak seniman wanita yang melakukan hal tersebut. Gambar yang paling sensual dari model lelaki kebanyakan dihasilkan oleh seniman gay.


9. What is it like to work as a female artist in an art world that is dominated by man?

I never think of myself as a female artist, just as an artist. And I am always surprised when people think my drawings are made by a man. I will never join a female artist group because I see no reason why we have to separate. But it is true, it is still a man’s world in the art, also in Indonesia. Time to change!

Saya tidak pernah berpikir bahwa saya adalah seniman wanita, hanya seniman. Dan saya selalu terkejut ketika orang berpikir bahwa gambar saya dibuat oleh seorang pria. Saya tidak pernah bergabung dengan group seniman wanita karena saya tidak melihat alasan kenapa kita harus dipisahkan. Namun memang kenyataan bahwa dunia seni masih merupakan dunia lelaki, juga di Indonesia. Saatnya berubah!


10. Please describe how you feel about your new works.

Well, I can describe this better when they are hanging in a gallery because my studio is too small to see them all together. But I am really excited about the size of the drawings. I never did such large drawings. Also, when they are hanging together, the drawings will form a dance together.

For the future I like to work on more free lines. Not so much outlines, shapes, but more lines in the body. And I hope that with my new model I get some lighter drawings. The chalk lines can be lighter in colour and the feeling from my new dancer is also lighter. Last year I worked on the drama: Jesus falling from the cross. This year hopefully on love, more the angel in the air.

Saya akan bisa menceritakan hal ini lebih baik ketika karya-karya saya sudah digantung di dalam galeri, karena studio saya terlalu kecil untuk melihat mereka secara bersamaan. Namun saya sangat senang dengan ukuran baru ini, tidak pernah saya lakukan sebelumnya. Juga, ketika mereka tergantung bersama, semua gambar tersebut akan membentuk tariannya sendiri.

Untuk masa depan, saya ingin bekerja dengan garis-garis yang lebih bebas, tidak hanya garis-garis yang terlihat sebagai outline, namun garis-garis dalam tubuh. Dan dengan model baru saya, saya menghasilkan karya yang lebih halus, karena garis yang dibuat oleh kapur arang bisa menghasilkan warna yang lebih halus, dan perasaan yang diberikan oleh penari baru saya sangatlah halus. Tahun lalu, saya banyak bekerja dengan emosi dramatis, seperti seorang Yesus yang jatuh dari salib. Namun tahun ini saya berharap lebih dengan emosi cinta, seperti malaikat di udara.

Between the Lines is an art project about the language that is not written, but just expressed.

Between the Lines adalah project seni tentang bahasa yang tidak tertulis, namun hanya diekspresikan.