otion ▁is ▁suppress ed , ▁both ▁public ly ▁and ▁priv ately , ▁K art ika ▁fills ▁her ▁can v ases ▁with ▁inten se ▁feeling . ▁In ▁a ▁culture ▁where ▁gen it als ▁are ▁considered ▁tab oo ▁in ▁representation , ▁K art ika ▁has ▁painted ▁her ▁own ▁n ud ity ▁graph ically ▁and ▁without ▁the ▁pres cribed , ▁dist ancing ▁sweet ness , ▁never ▁dep ict ing ▁the ▁body ▁as ▁an ▁object ▁of ▁pleasure , ▁whether ▁that ▁of ▁others ▁or ▁her ▁own . ▁ ▁Given ▁their ▁close ▁bond , ▁K art ika ▁painted ▁pen etr ating ▁port ra its ▁of ▁her ▁father , ▁right ▁through ▁to ▁his ▁final ▁years ▁of ▁deb il it ating ▁ill ness . ▁Another ▁provoc ative ▁portrait , ▁H indu ▁Pri est , ▁shows ▁an ▁old ▁man , ▁close ▁up , ▁as ▁he ▁wal ks ▁on ▁a ▁beach . ▁His ▁face ▁is ▁pre occup ied , ▁inten se ▁- ▁a ▁face ▁that ▁might ▁have ▁been ▁taken ▁from ▁an ▁Ing mar ▁Berg man ▁movie . ▁There ▁is ▁nothing ▁here ▁of ▁the ▁gl amour , ▁rom ance ▁or ▁myst ical ▁a ura ▁that ▁so ▁often ▁character ises ▁images ▁from ▁B ali ▁such ▁as ▁in ▁O . H . ▁Sup ono ' s ▁Bal inese ▁Pri est . ▁ ▁F ocus ▁Following ▁in ▁the ▁popul ist ▁foot steps ▁of ▁Aff and i , ▁K art ika ▁has ▁often ▁painted ▁rural ▁and ▁dispos s essed ▁people ▁such ▁as ▁fish erm en , ▁far mers , ▁workers ▁and ▁begg ars . ▁Since ▁these ▁individuals ▁pose