The Untitled Series by Ridho Rizki has featured indistinguishable objects, landscapes from unknown locations, and now cryptic zoom-ins shots of flowers. However, the three subject matters are not conceptually distinct for Ridho. The artist believes that the true meaning of a painting is not singular; it always depends on the preconceived notions of the viewers.
The objects in Untitled are constructed by minuscule particles of solid colors, overlapping and dispersing into each other. Ridho provides a visual phenomenon in which the absence of clear lines between colors gives an impression that the object is just an illusion, blurring the boundaries between objects and the space in which the object resides.
Because of their pointillist nature, up close, the audience can only see the creation process—the millions of color particles that construct the object, but not the object themselves. Whereas when they step back, the audience can see the full object, yet they will lose the details of how the works are done. Hence the distance between the audience and the painting becomes an essential space for sense-making, interpretation and the creation of meaning.
The works become metaphors for scenarios in real life. Humanity’s understanding of events and phenomena will never be complete; there is always something missing and overlooked. If one focuses on an event or object as a whole, one might miss the details and little things that construct reality itself; whereas if one dwells in details and particularities, one might miss the bigger picture.