“We love for our readers to not only appreciate the art that inspire them but also to get to know the minds and hearts behind the work. We fell in love with your work in general and are especially curious of your recent work in New York. Please share your creative process with our readers and tell us a bit about your intimate exhibition. Let’s get to know you better first.”

W: How did everything start? How did you get into the world of art?

I have a strong background in communication design. I obtained my formal education at Bandung Institute of Technology (ITB) and have worked in the field as a graphic designer. I founded a graphic design company in Jakarta. After 10 years, I realized that although I was passionate about it, I had difficulties finding my soul there. I knew for a fact, my soul was not in graphic design. I still painted as a hobby. Becoming a full time artist was not a short path; rather, it was a long journey. In 1993, I received an offer to join an exhibition—an offer I could not refuse. I have gained exposure and collectors purchased my artworks. It nurtured my self-confidence as an artist. I was able to show my full potential and my involvement as well as my interest in exhibitions became more apparent.

W: Who were some of the intellectuals, artist and/or projects that inspired you to pursue this career?

It started sometime during my graphic design training at school. I was surrounded by art and hung around individuals who were in visual art. I was always seeking new and old art books and was an avid collector of these rare finds. In fact, I owned a lot of books, however, none of them were graphic design related. I graduated from ITB in 1978. I remember reading a lot of books from 1976. I was a member of the library, which highly influenced my thought process and critical thinking. Through reading, I was exposed a lot to European visual arts and was particularly interested in German Expressionism.

W: From where do you uncork your inspiration?

My inspiration comes from multiple sources. In the beginning stages of my career, everything was very personal. All my explorations revolved around religion, sociopolitical themes and humanitarian work. I am very attached to my work.

W: What is the creative process behind your work? Do you base them on your previous drawings, prototypes, or is it all about work in site?

The initial idea can come from brief writings, notes or rudimentary sketches. I have a lot of work that are come from appropriation of other works that are then developed further. I come back to old ideas and focus on them again. I love the idea of finishing a concept and bringing it into completion. My self-portrait project, for example is an on-going investigation. I stopped exploring the idea in 2005 and I let it sit for quite some time while I moved on to other things. It could be anything, anywhere, at any given time.

W: Have you always approached your ideas this way?

It is quite ironic actually. I used to be so bold and fearless when it comes to experimenting. Prior to my formal education in graphic design, I used to make my own fonts. Typography was a part of my daily life as a high school student. When I entered university, I became afraid of changing things or experimenting ideas. I felt as if I had lost my courage and was hindered to explore. Nevertheless, it is my very nature that if things became uncomfortable and cause more anxiety, I will fight it and over come my fear. I always rebel and push myself forward.

W: Your work seems to have an eclectic amalgamation of history, memory and self-manipulation; can you explain the importance and influence of that within your art?

From the information that surrounds my daily life, I am able to see and read things meticulously. I have my own perception; hence, I want to react in my own way. Creating or producing artwork resembles therapy. In a more universal and spiritual approach, reflecting on the very essence of my personal issues gives way to self-therapy. I analyze things through self-introspection. I know that at the end of the day, I will apply everything I learn back to myself.

W: How does cultural context influence your work?

I don’t really think towards that direction. Aside from living and working in the country, being born in Indonesia definitely influences my life as an artist. In my opinion, identity is not so much an important influence. I believe more of that as an unconscious methodology. I don’t think you or I need to confirm per se, but definitely I have Indonesian culture and influences present in my work. Even so, it is more or less indirect because I express things through symbolism and layering. Nothing is homogeneous and no ornament refers directly to such issues.