The research is focused on land art of an eminent Indonesian artist, Nyoman
Nuarta. He is an artist of the (next) tallest statue in the world named Garuda Wisnu
Kencana (GWK) in 145 metres (1978-present) in Ungasan Bali. By referring to multidisciplinary approach within a grounded theory of Glaser and Strauss (2010) in
architectural research, it was revealed as a new architectonic of land art design as
well as his mentalité-artistry. By investigating his works, it is defined three periods
categorized of Nuarta’s land art in 1977-2017, among others: (a) ‘Jejak Sains’ (the
Science’s Traced) period represent his sculpture’s knowledge and his ideology of
Indonesian New Art Movement (Gerakan Seni Rupa Baru Indonesia) were revealed a
new indonesian genre in modern sculpture integrated with land art project as
investigated in the Presidential Sculpture Competition for Indonesia’s Proclamation
of Independence Statue (Patung Proklamator Soekarno-Hatta) (1977-1978) in
Proclamation Park (Taman Proklamasi) Jakarta, (b) ‘Jejak Teknologi’ (the
Technology’s Traced) period represented his new genre of mass and space invation,
in which he created ‘the light of metal’ to visualized sculpture narratives of Arjuna
Wijaya’s apart of the Baratayudha’s myth (1989-2014), and his prestigious work of
the Jalesveva Jayamahe monument in Indonesian Marine’s Corp in Surabaya (1996),
(c) ‘Jejak Budaya’ (the Culture’s Traced) period represent his artist passion realized
the first proposed of Garuda Wisnu Kencana (145 m) statue to the tallest in the world
in 2017, meanwhile he operated his own museum The Nuart Sculpture Park in
Bandung. This study also revealed the mentalité-urup (life to‘give life’ of others)
shown as the depth of his way of life that also provoking his new nation pride through
his artist passion as well as his view of Balinese philosophy.