Pedestal dan Garis Burung Mati (A Pedestal and Lines of a Dead Dird), 2013
Tuturkarena - Dan Bentuk lstirahat Dibawah Dengan Jepitan, 2017, 97 × 66 × 18 cm
Handiwirman Saputra born in 1975 in Bukittinggi, West Sumatra, Indonesia. He lives and works in Yogyakarta
Handiwirman Saputra is a cofounder and member of Jendela Art Group. He was initially known for his installations of objects and found objects he composed without almost any artistic pretension. The objects – thread, wire, bits of paper, plastic lumps, and hair – were presented practically just as they were. Such anti-aesthetic tendency also appeared in his painting. Only in mid-2000 did he present several surprising works with neatness and fascinating realist techniques. The same thing occurred for his installation work: it showed careful selection of materials and technical rigor. What remained the same was Handiwirman’s view of “beauty”. He searches to offer beauty out of simple things around him.
This means his paintings are an extension of the still-life genre. The thematic emphasis in Handiwirman’s painting is on the issue of perception, the way of seeing. So the object forms seen in his painting are often two-dimensional shapes representations of the objects he himself has made and assembled.
With careful consideration he selects materials and colours to present in
configurations of ‘objects’ that provoke us to associate the perceived forms with things that are familiar in our daily life. Any definitive meanings or conclusive narratives are almost always cancelled out by the vast possibilities of association on the viewers’ part.
Handiwirman Saputra is a cofounder and member of Jendela Art Group. He was initially known for his installations of objects and found objects he composed without almost any artistic pretension. The objects – thread, wire, bits of paper, plastic lumps, and hair – were presented practically just as they were. Such anti-aesthetic tendency also appeared in his painting. Only in mid-2000 did he present several surprising works with neatness and fascinating realist techniques. The same thing occurred for his installation work: it showed careful selection of materials and technical rigor. What remained the same was Handiwirman’s view of “beauty”. He searches to offer beauty out of simple things around him.
This means his paintings are an extension of the still-life genre. The thematic emphasis in Handiwirman’s painting is on the issue of perception, the way of seeing. So the object forms seen in his painting are often two-dimensional shapes representations of the objects he himself has made and assembled.
With careful consideration he selects materials and colours to present in
configurations of ‘objects’ that provoke us to associate the perceived forms with things that are familiar in our daily life. Any definitive meanings or conclusive narratives are almost always cancelled out by the vast possibilities of association on the viewers’ part.
See work