Reflecting the worldview of the Islamic faith, Umi Dachlan also saw the natural environment as God’s creations. This view compelled her unique technique of faint scratching and layering of oils, which culminated in immaculate surface textures mimicking the earth and rocks. Her varied tones of terracotta, violet and maroon imitated the colours of the earth, while her trademark use of gold seamlessly linked experiences of both the natural and divine. With these unique approaches, her works undoubtedly command a sense of timelessness.
Umi Dachlan’s works have been displayed in an impressive number of group exhibitions across countries such as Indonesia, Malaysia, Singapore, Hong Kong, Japan, Korea, Belgium, Denmark and the Netherlands. This exposure existed despite the artist being one of the few female Indonesian abstract painters at the time, as demonstrated by her being ITB’s third female graduate in 1968 and first female lecturer in 1969. Indeed, the artist had a place amongst the new generation of modern Indonesian artists, alongside Popo Iskandar, Fadjar Sidik, Nashar and Zaini.
Umi Dachlan’s works have been displayed in an impressive number of group exhibitions across countries such as Indonesia, Malaysia, Singapore, Hong Kong, Japan, Korea, Belgium, Denmark and the Netherlands. This exposure existed despite the artist being one of the few female Indonesian abstract painters at the time, as demonstrated by her being ITB’s third female graduate in 1968 and first female lecturer in 1969. Indeed, the artist had a place amongst the new generation of modern Indonesian artists, alongside Popo Iskandar, Fadjar Sidik, Nashar and Zaini.