FAJAR AMALI

Born in Surabaya in 1992, Fajar Amali currently lives and works in Yogyakarta, Indonesia. He dropped out from Hassan II University, Casablanca, Morocco. Then he moved and graduated from Art Institute (Institut Seni Indonesia) Yogyakarta, Indonesia. Amali's work mainly is painting and mixed media, and he is influenced by the works of Marcel Duchamp, Robert Williams, and Rembrandt.

OGGZGOY

Born in Jombang, East Java in 1992. Oggzgoy studied at the Department of Fine Arts, Painting Studies Program (2014-2021), Indonesian Institute of Art (ISI), Yogyakarta. The artist currently lives in Yogyakarta to further develop his work. "In art I am not afraid to create works until I can leave a legacy for the rest of my life. In 2016 I focused on traveling the streets and so far I am enjoying it," he says.

MEET THE ARTIST FAJAR AMALI:

1. Do you consider art to be an important part of your life? If yes, why?

Yes of course, why not? Haha, this is nostalgic, I grew up in a super busy family when I was little and I was the only child so my childhood at home was very lonely, so the closest thing to me as a child was only creativity and a fantasy world, drawing is my closest friend watching cartoons and reading comics is my entertainment, so the creative world is half of my life. That's all I have and I'm proud of it until now and until death comes.

I grew up in a super busy family when I was little and I was the only child so my childhood at home was very lonely, so the closest thing to me as a child was only creativity and a fantasy world

2. Do you have a previous creative process before painting a new artwork? What is your approach when working on a new work?

I often observe something around me, contemplate and daydream when I see interesting things from there, sometimes I spend time watching movies or reading novels and comics. One day I rode a motorcycle without knowing where to go, randomly. Until I got lost in a new place, after getting tired I went back to the studio and painted, recording what I saw on the way home became a lifesaver object to support my visuals, I usually pour it immediately on a blank paper to draw my whole mind. So that is how I go through the creative process before I paint new works.

I work with several types or many series of painting in the same line, I usually do figures or characters maybe because I grew up with comics so that's what you can see in my work.

Java traditions and culture from my family are so thick it looks like I was inspired by the figure of Dwarapala as the basic concept of character formation in my old paintings. Dwarapala is a Hindu-Buddhist statue in Java and is placed in front of a temple or holy place as a guard.

The trigger for each creation of the new Series is my contemplation of popular culture, social issues, and the philosophy of life of our essence and around us.

3. What inspires you to fuse pop culture elements with the theme of the classic still-life?

Looking at my existence in Indonesian society as an ethnic Javanese, we have many myths and urban legends that grew from ancient times, whether it was an object or an element of sociology, in that time seeing what we call classic was a popular culture in its era, connecting it between classical culture and pop culture today is a paradox of imagination to understand the meaning (Time) that rotates like a wheel and rolling like a ball. Like the example of classical Hindu literature (Mahabharata war) in the Mahabrata world, most people believe that the war is a magical war that is so powerful that it is believed to destroy half of the earth. However, in my view, the Mahabharata War was not a magical war but a war with tactical weapons such as nuclear, atomic bombs or so on that have a very powerful destructive power.

4. In your paintings, the figure of the robot seems to be the protagonist. Why did you decide to draw robots in your work? Do you have any influence or inspiration to use them?

Yes, robots are indeed the protagonists, but several factors influenced me in creating it, first from the story of Javanese classical literature in reading one of the charismatic figures Mahabharata, the son of Bima, namely Gatotkaca, in Javanese culture Gatot kaca has a nickname (wire muscle, steel bone) because when he was born he dipped it in the crater of Mount Merapi so that it created the essential meaning of a man who is very strong for the Javanese people, but in the scientific sense that the wire muscle, the steel bone is not a human but a cyborg.

And the second from my empirical experience of shock culture, that robot figures are representations of humans, I don't criticize but it's an irony. Back when I was still studying at the Indonesian Art Institute, as a student I once took freelance as an art handler in the capital, one of the cities with a developed economy in Indonesia, there was no other option to finance, so I took a freelance job in the capital, in my views and experience of my life there, seeing how humans move undynamically to Fulfill the high needs of life, maybe it’s my first culture shock, so I see it like a system that is very rooted, for some people the system is a good thing and some like me feel tired of doing such a system. From this empirical, I see how the dynamics of humans become very rigid and cold like robots.

5. In one of the artworks of the exhibition we see a reference to Yoshimoto Nara. Do you want to make a connection to his work in some way? How has his work inspired you?

In the work entitled "Portrait of (the collector) Java" I place Nara's work in it as an element of pop work today as a sense of pride of a collector. I want a disclaimer first this is just my view, I can also be wrong. I see Nara as a role model and very respectful to him, he is very inspiring, and he grew up in a different environment and culture from me, he created characters and figures that are very iconic and can represent an irony in his work. Irony is not always a negative thing but it can arouse someone to understand deeper meaning.

I see Nara as a role model and very respectful to him, he is very inspiring, and he grew up in a different environment and culture from me, he created characters and figures that are very iconic and can represent an irony in his work.

6. You paint a harmonious fusion of diverse artistic influences. Can you tell us some of them? Do you have any specific examples?

The four paintings that I present are developments from the society's series, the basis of this painting is classic photography and old master paintings from Europe. Ornamental in it is a landscape of various classical cultures in several regions, such as Europe, Asia, and the Middle East, I really like history, and even though I once dropped out of Universite Hassan II Morocco, I experienced a little acculturation with Andalusian culture during the two years living there, many European - Middle East architectural buildings inspired me

The four paintings that I present are developments from the society's series, the basis of this painting is classic photography and old master paintings from Europe. Ornamental in it is a landscape of various classical cultures in several regions, such as Europe, Asia, and the Middle East

And as in my concept in the work that I present as some elements in it (how certain community conditions in the past, and become a message in the future. Two different conditions are brought together in one structure of imagination into a vision for the next generation. Then in the visuals of this work, I give a door or gate in the middle as a link between the different times, realms, and spaces. In this philosophy, the door in the building is a myster

MEET THE ARTIST OGGZGOY:

1. Do you consider art to be an important part of your life? If yes, why?

Art made a lot of changes to my personality and made me a lot better. Art is also my main occupation.

2. Why did you decide to start your career as a street artist? Are there any street artists who have inspired you?

I lived in a community environment, skateboarding, bmx, parkour, breakdancing, hip hop rap, and graffiti. At first I was inspired by banksy and basquiat until I decided to become street art.

I lived in a community environment, skateboarding, bmx, parkour, breakdancing, hip hop rap, and graffiti

3. Do you feel any difference when doing a work in the street with doing the same in a canvas? Is it a challenge for you to change from a medium so different in size?

I feel there is a difference in street art, which is high risk and full of adrenaline, it is different when I face a canvas that explores more materials, compositions, and ideas. The challenge faced is how to pour the spirit of street art into canvas media so that the work on the canvas looks strong.

The challenge faced is how to pour the spirit of street art into canvas media so that the work on the canvas looks strong.

4. Is there a symbolist with the character you usually use? Is there another homage to another artist with this character?

The testicle symbol became my character. I pay tribute to artists who have a unique way of working or are still within the scope of street art.

5. You talk about the inspiration with KAWS’ character, why were you inspired by this artist? Can you tell us about the influences that he has given you?

Yes, kaws is one of the most famous unique street art in the world and every project is very neat. Kaws brings the spirit of street art into each of his works and makes them powerful. That's what makes me admire him especially when I see his work that often surprises the world.

Kaws brings the spirit of street art into each of his works and makes them powerful. That's what makes me admire him especially when I see his work that often surprises the world

6. Do you have a creative process when doing your artwork with spray? Have you used any other technique or one that you would like to try in the future?

The spray technique has many types, allowing me to play with different caps and preasures of each spray cans. I will definitely use other techniques according to my ideas and works.