Arin's mechanical aesthetic unfolds naturally on canvases<\/p>\n
JAKARTA (JP): We have come a long way from the Renaissance,
\nand so has Raden Saleh. These days, Indonesian painters are more
\nlikely to be mechanics in one way or another -- or they might
\nlisten to the pop group Mike and the Mechanics.<\/p>\n
Enter Arin Dwihartanto, a young painter who is still a student
\nat the Fine Arts Department of Bandung Institute of Technology
\n(ITB). On his canvas, machine aesthetic comes into play through
\nhis work.<\/p>\n
This is an artist who grew up with the Goggle Five Japanese
\nrobot toys and the animated TV series of the same name. As he
\ngrew, his hobbies included Tamiya car model kits.<\/p>\n
More recently, he has witnessed what he calls "an ecstasy" of
\ntechnologically filled experiences, including films like Star
\nWars, Toy Story, and Matrix, an Internet boom, as well as many
\nother developments in telecommunications and other technologies.<\/p>\n
And not to mention "techno" music, which would probably excite
\nArin more than Mike and the Mechanics.<\/p>\n
Arin's "mechanical expression" is all but mechanical. Haunting
\nfigures emerge from skeletons of mechanical assemblages which the
\nartist has so convincingly put together so as to appear visually
\nthat they actually do work.<\/p>\n
Skeleton Type no. 77 X 12 is just the example of his
\ncharacteristic figures.<\/p>\n
The figures are formed, or rather deformed, using techniques
\nderived from Cubism. Yet, his Cubism is not like Picasso's or
\nBraque's.<\/p>\n
Perhaps it is closer to Brancusi's Futurism or Mendelsohn's
\nexpressionist architecture. Whatever the influence, Arin's
\ndeformations are definitely influenced by machine esthetics.<\/p>\n
The young artist mentions that at ITB, he is taught three
\naspects of modern art: Cubism, Expressionism and symbolism. This
\nis apparent in his works. They are not merely studies in Cubism.
\nArin's paintings are also tremendously energetic and expressive.<\/p>\n
Although it can be argued that if the works could be
\ncategorized as symbolistic, they would contain elements which are
\nessentially the artist's own personal symbols.<\/p>\n
"Although I live in Dago, I don't feel close to nature," Arin
\nclaims. Dago is a hillside neighborhood in north Bandung, which
\nis known for its greenery.<\/p>\n
He certainly feels closer to technology. His works are filled
\nwith technology-oriented elements to such an extent that it seems
\nhe glorifies it.<\/p>\n
On two of his canvases, he shows machine-like figures and
\ncreatures in typical cubist-futurist deformations. Drawings of
\nmachines taken from Tamiya model kits are screen printed onto the
\ncanvas, adding to the technical appearance of the painting.<\/p>\n
On top of all that, he adds layer after layer of screen
\nprinted text, such as the work of graphic designer David Carson.
\nThe work becomes filled with images and references to technology.<\/p>\n
Yet he realizes the danger of technology. The two works are
\ntitled The Exquisite Machine of Torture 1. Technology is great,
\nbut he does not want to become a slave to technology. He does not
\nwant technology to torture him.<\/p>\n
Arin has advanced significantly since his work was selected as
\none of the best five at the Philip Morris Indonesian Art Awards
\ncompetition, and was sent on to the regional ASEAN competition in
\nMalaysia last year.<\/p>\n
In his current work, on display at the Koong Gallery, Gran
\nMelia Hotel, South Jakarta until July 7, he boldly uses machine
\nor technology aesthetics, the subject which has always intrigued
\nhim.<\/p>\n
Let us hope that he does not end up being tortured by
\ntechnology and his aesthetics does not end up becoming
\nmechanical.<\/p>\n
-- Amir Sidharta<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/arins-mechanical-aesthetic-unfolds-naturally-on-canvases-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }