As the road climbs up the mountain from Ubud towards the Neka Museum, galleries abound, lining the street to the point of ubiquity, They can start to blend together after a while, and unless you really know where you're going, it can be a boggling prospect to find what you are looking for. Nestled along this strip is the timid Hansen Art Gallery, home to the now famous works by the artist of the same name, Through a small entrance, the front room leads back across a bamboo floor to a second storey gallery room, where Hansen awaits, Slight in figure, and long in graying beard, the artist's eyes light up upon discussion of his recent works, Large canvases line the walls with more stacked at the back, Hansen begins to explain his inspiration and the direction of his old and new works. Originally from the western Toho district of Kalimantan, Hansen is of indigenous Dayak and Chinese heritage. From an early age he showed a passion for drawing, and after moving to Bandung for schooling, he went on to study mechanical drawing in Taipei. From there he moved to the US, where he studied yacht design at Westlawn School of Yacht Design in Connecticut. Specializing in this technical drawing field, he designed spectacular yachts for ten years, It was at this point in his life that architect and friend, Ms, Georgian, introduced him to minimal expressionist art - he soon moved back to Indonesia to further this interest Observing the various art movements occurring these days, Hansen describes his own work and motivations as a medium that combines Eastern and Western elements with minimal expressionist techniques, Whilst having a deep understanding of traditional Chinese painting methods, he also employs various Western mixed-media techniques that he has developed over the years, using both oil and acrylic. He also likes to combine old media, such as aged documents, with modern materials, creating a rich dialogue between the two, Hansen sees that in this 'age of globalization; Eastern and Western cultures are becoming 'closer', This phenomenon is possibly at its most visible through the visual arts. Pointing out how block-print methods and traditional printing have been used in China for hundreds of years, he sees the whole Pop-art movement in the West as something that would not have happened had it not occurred in the East previously. Chinese calligraphy also plays a large role in his pieces, both as a symbol of Eastern traditions, as well as a means of communication.

One of his larger pieces saddles two canvases - side by side, On the left, a large panel resembles a black board, scrawled with Einstein's calculations and equations for energy, while the right panel, equal in size, denotes the same, only in Chinese scripts, It is through this sharing of Western technology and Eastern spirituality that Hansen finds balance in his work. It is between realism and abstraction that he feels he can truly communicate. After further discussion, Hansen invites us to his studiohome to see more of his pieces. Set on the top of a tall bluff, in a remote Gianyar district, Hansen and his wife Herma, welcome us on a personal tour of their home and 'collection: The word 'museum' quickly comes to mind as, when you first step through the door, ancient artifacts line each wall. The only things missing are labels, but Hansen is only too keen to explain the origins of each piece in person. Twelfth century Buddhist figures solemnly sit atop beautifully carved wooden Kapitan drawer sets. Within these antique sets, lie polished-jade carvings arranged alongside intricate, precious ornamental art-pieces, all dating back hundreds of years. Around the corner lies a tattered Koran, found in Lombok, which is also beyond count in age. Neither we, nor Hansen, can read the Arabic scripture, but he obviously loves it, and prizes this ancient religious document. His collection is a true testament to his firm belief - that of'ancient traditions and their place in today's modern world, each a reminder from whence we came', Past another antique - a massive Sony audiotape reelrecorder - we are eventually led up to his studio. The second floor - with an open-air verandah overlooking his sculpture garden and rice-paddies to the south - serves as the launch pad for his canvases, Two easels, with a modified antique lamp on the side, face you upon entry. A couple of computers and TV lay dormant nearby. By the far side, along table and benches await with jars of chocolates, warung style, Hansen's more recent series of paintings, is strikingly more socio-minded, juxtaposing modern, almost cartoon-like, urban female fashion figures set starkly against traditional Chinese calligraphy in the background, Questioning the roles of modern women in modern Asia, their skin-tones are cement-gray, with the only touch of colour occurring suggestively upon their lips. 'Desperate Housewives' came to my mind, but I guessed Hansen might not appreciate such a pop-culture analogy. No matter what, this was an assured break from his usually non-figurative subjects.

'Who wears the white glove?" is the title of his newest series, which also questions and refers to numerous human rights cases (and the unsolved murder of locally renowned social-activist, Munir, in particular). Where the perpetrator always seems to escape without a trace. While these more recent 'series sets' are reflections of what he sees going on in the world around him, Hansen affirms he will soon return to a more introspective direction of digging and self discovery. He laments the state of educational affairs in Indonesia at the moment. Citing his native island of Kalimantan, he reveals the schools that do exist are few and far between, leaving the more remote communities without a chance of proper education. Just from a logistical point of view, the distances between some towns and the closest schools are unimaginable, ultimately leaving entire towns cut off from future development. More spending must be allotted for education on a national level, he insists, so that each student is given the chance to realize his or her own potential. Young art student groups from Bandung come to the studio from time to time, on school-sponsored trips to learn from Hansen. Often, they are too 'green' he reflects, not proficiently trained or motivated in art's fundamentals for him to really connect with.

Perhaps in this era of globalization, the power of the Internet may truly help to connect the missing links, bringing educational tools closer to the far reaches of Indonesia's islands. This visit with Hansen has left me inspired once again, by another soul's quest to question our existence in such rapidly changing times. Although we were strangers to each other just two hours ago, we have learned much and communicated a lot and that is what great art is all about, closing the gaps.