Handiwirman saputra biography

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(b. 1975, Bukittinggi, West Sumatra, Indonesia)

Co-founder of the Jendela Art Group, Handiwirman Saputra is known for his manipulation of mundane everyday materials into mediums of artistic exploration. By modifying and repositioning mediums such as cloth, human hair, corrugated roof sheets and plastic wrap, he challenges expectations and transforms the banal into the majestic. Saputra’s works are often reminiscent of landscapes, figures, vegetation and various memories but at the same time, they also resist association with distinct metaphors or symbols.

Saputra pushes the boundaries of the still-life genre. Vaguely evocative of subjects in reality, his non-objective works are usually either monumental or miniature. This shift in scale further spurs the viewer to reconsider their relationship with the everyday materials involved. He then allows others into his perception of the world, a perspective that gives power to the ordinary. Reacting to the politicised works produced by artists under the Suharto regime, Saputra deliberately forgoes any sociopolitical character in his work. Alternatively, he leans on organic abstraction and playful handling of art forms.

A fine arts graduate from the prestigious Indonesian Institute of Arts (ISI) in Yogyakart

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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 assembl