Arin's mechanical aesthetic unfolds naturally on canvases

JAKARTA (JP): We have come a long way from the Renaissance, and so has Raden Saleh. These days, Indonesian painters are more likely to be mechanics in one way or another -- or they might listen to the pop group Mike and the Mechanics.

Enter Arin Dwihartanto, a young painter who is still a student at the Fine Arts Department of Bandung Institute of Technology (ITB). On his canvas, machine aesthetic comes into play through his work.

This is an artist who grew up with the Goggle Five Japanese robot toys and the animated TV series of the same name. As he grew, his hobbies included Tamiya car model kits.

More recently, he has witnessed what he calls "an ecstasy" of technologically filled experiences, including films like Star Wars, Toy Story, and Matrix, an Internet boom, as well as many other developments in telecommunications and other technologies.

And not to mention "techno" music, which would probably excite Arin more than Mike and the Mechanics.

Arin's "mechanical expression" is all but mechanical. Haunting figures emerge from skeletons of mechanical assemblages which the artist has so convincingly put together so as to appear visually that they actually do work.

Skeleton Type no. 77 X 12 is just the example of his characteristic figures.

The figures are formed, or rather deformed, using techniques derived from Cubism. Yet, his Cubism is not like Picasso's or Braque's.

Perhaps it is closer to Brancusi's Futurism or Mendelsohn's expressionist architecture. Whatever the influence, Arin's deformations are definitely influenced by machine esthetics.

The young artist mentions that at ITB, he is taught three aspects of modern art: Cubism, Expressionism and symbolism. This is apparent in his works. They are not merely studies in Cubism. Arin's paintings are also tremendously energetic and expressive.

Although it can be argued that if the works could be categorized as symbolistic, they would contain elements which are essentially the artist's own personal symbols.

"Although I live in Dago, I don't feel close to nature," Arin claims. Dago is a hillside neighborhood in north Bandung, which is known for its greenery.

He certainly feels closer to technology. His works are filled with technology-oriented elements to such an extent that it seems he glorifies it.

On two of his canvases, he shows machine-like figures and creatures in typical cubist-futurist deformations. Drawings of machines taken from Tamiya model kits are screen printed onto the canvas, adding to the technical appearance of the painting.

On top of all that, he adds layer after layer of screen printed text, such as the work of graphic designer David Carson. The work becomes filled with images and references to technology.

Yet he realizes the danger of technology. The two works are titled The Exquisite Machine of Torture 1. Technology is great, but he does not want to become a slave to technology. He does not want technology to torture him.

Arin has advanced significantly since his work was selected as one of the best five at the Philip Morris Indonesian Art Awards competition, and was sent on to the regional ASEAN competition in Malaysia last year.

In his current work, on display at the Koong Gallery, Gran Melia Hotel, South Jakarta until July 7, he boldly uses machine or technology aesthetics, the subject which has always intrigued him.

Let us hope that he does not end up being tortured by technology and his aesthetics does not end up becoming mechanical.

-- Amir Sidharta