Irfan has a high visual sensibility. This is obvious in his works that are composed of simple elements of forms, many of which may have been forgotten and left behind by most of other artists. Irfan creates some of his paintings by employing arrangements of merely colored lines, either for the background or as the main object - this latter is generally much simplified in terms of forms. They appear serious and formal, but are also playful at the same time. Such dualistic and paradoxical nuances are further strengthened by the fact that Irfan's works appear in many styles and characters. It seems as if different artists create the paintings. The same is true with his subject matters or themes: sometimes his works show only compositions of forms, with semi-abstract tendencies, and appear as constructive. Other times, his works are very decorative, and yet other times they depict social-political themes.

Irfan says that "visually, art is about the achievement in the imaginative or fantastical forms; and this in turn will cause some interpretations." Apparently, his belief about the strength and wonder of imaginations has enabled him to wander freely, and to dwell into the many visual possibilities in creating his works. However, his awareness that his works also trigger some interpretations has more or less caused him to create works with sociopolitical themes - although such measure still seems to be merely a means to compose forms. In other words, forms for Irfan are important, but not in the sense of the formalist modernism. In this case, Irfan is a prime example of the contemporary artists who are able to take advantage of the fluidity of the art paradigm. Irfan uses and recycles various styles and lets himself be influenced by many artistic tendencies.

For Irfan, therefore, personal styles or characters are not important, or are irrelevant with his artistic tendencies. Irfan is thus free to explore the many possibilities of styles. This is naturally a risky move, as his works may seem to be devoid of a personal character. However, the intensity, seriousness, experience, and artistic flavor of the works make them appear to have their own hallmarks. This appears even when Irfan appropriates some visual imagery - whether from the works of other artists or from images outside the world of visual arts - as the audience will grasp that the pattern of the appropriation is highly characteristic of him.For this open biennale, Irfan has created a slightly different work. Here he makes a semi-installative sculpture in the form of iron structures that depict a group of sharks. Like Irfan's paintings, this particular work also plays on the possible domination of the structure on the one hand, and the meaning of the work on the other hand. The audience may see the arrangement of the iron structures that results in an artistic form. Apparently, the shark form is borrowed only to create some compositions and characteristic forms. Of course, there are still possibilities to read the iron sharks as a symbolical text: A group of cruel creatures looking for their prey. Such reading suits the context of the social and political conditions in Indonesia for the past few years. This kind of interpretation is further strengthened by the darkness of the room where the group of iron sharks is displayed.

Asmudjo J. Irianto

Born on October 19, 1972 in Bukit Tinggi.
Studied at Indonesia Institute of The Arts (BFA; 1999).

SELECTED GROUP EXHIBITIONS
1998 The Opening of JAVA Gallery, Jakarta.
1999 "From A Window", Group Exhibition of the JENDELA II, Padma Hotel, Bali.
2000 "Giving Possibilities", Group Exhibition of the JENDELA III, Purna Budaya Art Centre, Yogyakarta; "Giving Possibilities", Group Exhibition of the JENDELA IV, Ismail Marzuki Cultural Centre (TIM), Jakarta.
2001 Group Exhibition of the SAKATO, Purna Budaya Art Centre, Yogyakarta.
2002 "ALPHA OMEGA ALPHA", AIR Art House, Jakarta "Ecstaticus Mundi", Group Exhibition of the JENDELA V, Gallery of Selasar Sunaryo, Bandung; "Ecstaticus Mundi", Group Exhibition of the JENDELA VI, AIR Art House, Jakarta; "POSE", Group Exhibition of the JENDELA VII, Affandi Museum, Yogyakarta.
2003 "No Body", Mon Décor Gallery, Jakarta.

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