He had participated in Bandung New Emergence Vol. 5 in 2014. The artwork questions about one West Java’s local folklore who had a similarity with a folklore written by Aesop also other folklore around the world. He also recently had a solo exhibition titled Flesh + Flora at Ghostbird Swoon in Sanur, Bali. A study of the complex dialogue between the body, nature and spirituality. Flesh + Flora questions and visually explores Bali’s magnetic draw, with a strong emphasis on the indefinable mysterious undercurrent still present in Sanur.
Resatio dissects organic and intimate forms – the human body and nature then reassembles the pieces creating surreal images that reveal a strong animistic nuance.
He use collage for most of his artworks as an attempt to deconstruct and reconstruct. How to add and hide the existence and how to rewrite history. Collage is not only about cutting and pasting, but the process began at the time of collecting, searching, and finding the materials. The tools are not only scissors and glue now, but also your mouse, keyboard and computer screen. Paper turned to high resolution JPG file.
We live in the image boom era. Brains are filled with those images from offline and online media: the essential and the junk. Collage artists are like foxes, collecting junk and compose something out of it.
Collage is a way of resurrection.
Hi Resatio, as a visual artist you work mainly with collaging, why so?
There’s something interesting about collage, it is not only about cutting and pasting. The process started when I collect, search and find the materials. From the existing materials, I extract very little bit part of them and compose it to a new form. It is an attempt to deconstruct and reconstruct.
The tagline you use for your practice is “Resatio cuts encyclopedias and put them back together,” can you elaborate further on this?
It is like a paraphrase, because most of my collage materials are old encyclopedias, but I use National Geographic, old text books, and anything I can use too as long as it fits my visual language.
“Everyone can make similar work to me, but they can’t have the same idea.”
To me there is something very dreamlike about your work, how would you describe your style?
I can’t really describe my style. But I really like all of things that to me is mysterious. I like the idea of not knowing thus I have to find out about it.
You seem to like creating these contemplations on the future, what draws you to this unknown?
We, or me at least, never know about the future, since there’s no evidence yet that mankind can make the time machine. But then again, I like the mysterious, I like how Jules Verne somehow predicted technology that was fantastic for his day but later became commonplace, I like how 2001’s Stanley Kubrick gave us a glimpse about the future that day, like we know something but we actually don’t.
Overall you comment quite a lot of human nature and what we are doing to ourselves and our environment?
In Indonesia, some people, mostly of them doesn’t really care about themselves and the environment. You can find here people throw their garbage out of his/her car when he/she drives. It’s like a common thing here. It’s bad. Real bad. I can go with other examples for four pages but I am going to stop here.
“I like how 2001’s Stanley Kubrick gave us a glimpse about the future that day, like we know something but we actually don’t.”
Indonesia is one of the most diverse countries in terms of geography and ethnography, how has this environment fed into your work?
It is really beautiful here in Indonesia, especially in Bandung. I live in Bandung, Bandung is an ancient volcano. You will see Bandung is surrounded by mountains. I can drive only 30 minutes and find me ned up in a mount where goverments Kina plantation and factory lies. Unconsciously that situation fed into my artwork.
“We Indonesians Rule” is a book you worked on, what do you think is unique about the Indonesian art scene?
So, I am a graphic designer too, and We Indonesians Rule is one of my work as a graphic designer and art director back then 2013 with Studio Geometry. It is not only about the art scene in Indonesia but the creative scene in general: music, art, design, performance, etc. There’s a lot of creative people here in Indonesia.
What is unique about Indonesian art scene, I think there’s a lot of interesting artists here in because the traditional culture is quite strong here. One of great example is the work of Heri Dono.
You do quite a lot of collaborations, how does this enhance your practice?
Collaborations tend to sparks my inspiration and verve to make more art works. I can learn new things from my collaborators. So I like to collaborate.
Your work, although inherently 2D, take on many forms, including in wall collages, flipbooks and clothes, how do you see your work taking form?
I do not limit the possibilities of my work. The execution can be in any form. Afterall, those are just artefacts, what more important is the idea. Everyone can make similar work to me, but they can’t have the same idea.