alih - A Solo Exhibition by Handiwirman Saputra скачать в хорошем качестве

alih - A Solo Exhibition by Handiwirman Saputra

Exhibition e-catalogue: https://nadigallery.net/uploads/Katal... Handiwirman (b. 1975 in Bukittinggi, West Sumatra) is a cofounder and member of Jendela Art Group. He was initially known for his installations of objects and found objects he composed almost without any artistic pretension. The objects – thread, wire, bits of paper, plastic lumps, and hair – were present nearly as just what they were. Such anti-esthetic tendency also appeared in his painting. Only in mid-2000 he surprisingly presented several works with neatness and fascinating realist techniques. The same thing went for his installation: it showed careful selection of materials and technical rigor. What basically remained the same was Handiwirman’s view of “beauty”. He has been searching to offer beauty out of simple things around him. To put it simply, his painting forms an extension of the still-life genre. But the emphasis of Handiwirman’s painting is on the issue of perception, the way of seeing. So the forms of objects as seen in his painting are often the two-dimensional shapes of objects he himself has made and assembled. With careful consideration he will pick materials and colors to present in configurations of ‘objects’ that provoke us to associate the perceived forms with things that are perhaps familiar in our daily life. Any definitive meanings or conclusive narrations, in case of Handiwirman’s works, are almost always be cancelled by the spacious possibilities of association on the viewers’ part. The term alih, which means to move or to change, represents Handiwirman’s shift in perspective toward the conditions and environment in which he lives. This concept is understood as a process of seeking a path that requires humility, an awareness of limitations, as well as the ability to adapt and negotiate in order to continue growing without losing one’s essential self. This transition is reflected in Handiwirman’s artistic method, which has become more liberated, no longer bound to finished objects, yet still rooted in everyday subjects such as cotton, thread, and foam. In addition, Handiwirman challenges the conventional boundaries of two-dimensional painting by treating it as a three-dimensional object through the use of wheeled pedestals and materials resembling brick walls. The exhibition display and approach to the catalogue also resist reducing the works to flat images alone. Through the exhibition alih, Handiwirman invites viewers to experience painting more holistically—integrated with space and environment—while reflecting on the importance of negotiation and adaptation in responding to the changing times.