Handiwirman Saputra (IDN)

Tak Berakar Tak Berpucuk (No Roots No Shoots)
Zinc, gold-plated brass, led lights and sounds.
318 x 468 cm


Handiwirman Saputra was born in 1975 in Bukittinggi, West Sumatra. In 1996 he began his study at the Indonesian Institute of Arts (ISI) Yogyakarta. Along with several colleagues from ISI, he cofounded and is a member of the Jendela Art Group. Initially known for installation works of objects and found objects, he has an anti-aesthetic tendency because the objects in his work were often presented practically as it were. The same tendency can also be seen in his painting. But in mid-2000 he began to present works with increadible neatness and fascinating realist techniques, both in painting and installation work. Handiwirman view of “beauty” came from his detailed observation to simple things found in his surroundings. This could be seen in his last solo exhibition ‘No Roots, No Shoots’ at the Indonesia National Gallery Jakarta in 2011. Handiwirman reproduced several objects, trash and rubbish that he found along a river near his home. In 2012, Handiwirman exhibited a series work entitled “Ujung Sangkut Sisi Sentuh/ Suspended Forms,” at the Singapore Tyler Print Institute. Handiwirman Saputra lives and works in Yogyakarta.

This time, Handiwirman Saputra’s work is a sitespecific installation that is made specifically to respond to the showrooms in Jogja National Museum. Handiwirman wanted to build an association on the situation that is left from an ‘incident’. We see shapes that resemble boats, trees and trail lines puddles on the wall, but what actual event that he meant is not so clear. There is an enigma, the apparent contradiction and absurdity of the transformation of material and shape. This work rejected stereotypical symbols and metaphors that are common and logical. A sarong that absorbs water is presented as a boat moored to a trunk of the tree. Remnants of garbage scattered and snagged in the gallery space, its origin is not clear. Handiwirman presents it all as a construct that potentially provokes emotion and stories. At the same time, he tested the sensitivity of all of us to see it solely as a ‘visual phenomenon’.