The vast advancement of technology coupled with the huge wave of incoming information makes the world and everything that surrounds it seem clear and easy to understand.

However, the acceleration of information is at the expense of one’s space for meditation and reflection. It feels like there is no longer a place for interpretation to make sense of events and phenomena that one encounters. The body and mind are exhausted with the complexity of various dialectics when it actually needs rest and to be refreshed, especially with our increased screen time during the current global isolation.

2021, Acrylic on Canvas
220 x 245 cm

In that aspect, creating works of art becomes a kind of pause for the artist to rest his body and mind, and for him to rebuild the meditative space. Collecting insignificant things, picking up unnoticed objects, arranging them in a composition, and manifesting it in unusual ways into his paintings is an effort by Ridho in building a space.  

The space needed by the body and mind for meditation as well as an endeavour to find new possibilities of sense-making. A painting does not have a singular rigid meaning, rather it has multiple interpretations depending on the preexisting experience and information possessed by the observers. Ridho’s current process of painting does not feature an object for its symbolic meaning, but rather the manner in which it is perceived, and how it creates an impression in the minds of the audience. 

The objects in the painting will be constructed by miniscule particles of solid colours, overlapping and dispersing into each other. Ridho provides a visual phenomenon in which the absence of clear lines between colours 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 the way the paintings are created, up close, the audience will only be able to see the creation process, millions of colour particles that construct the object, but not the object themselves. 

The audience has to distance themselves from the painting surface to see the illusion form, where stacks of colour particles create planes, curves, and folds of an object. That distance between the audience and the painting is the important space for sense-making, interpretation and creation of meaning. Similar to how things are in this reality. Mankind’s understanding of events and phenomena will never be complete; if one focuses on reality as an overarching structure, one might miss the details and little things that construct reality itself, whereas if one dwells on the details and particularity, they might miss the bigger picture of what is happening. 

Partial misunderstanding and missing-out things will always be part of the human condition. Distance and space is crucial for one’s process to understand, meditate, and reflect on things. In the end what one will gather is the feeling, the sensibility, of a meaning, but never the objective reality itself.

Ridho Rizki
(b. 1993, Padang, Indonesia)

Ridho Rizki pursued his art education at the Faculty of Fine Arts ISI Yogyakarta (Indonesian Institute of Arts Yogyakarta). In 2017, he received the Emerging Artist Award at Bakaba #6, held at the Sakato Art Community, Yogyakarta. He was also selected as a finalist for the Young Artist Award by RedBase Yogyakarta in 2016, and awarded Best Drawing Fundamental II at ISI Yogyakarta in 2015 and 2014.

Rizki’s artwork evokes the sensation of still life paintings, yet his interest lies not in the symbolic but the dramatic and optical aspects of an object. Merging pointillism, impressionism, and still life, his paintings have drawn the attention of regional collectors for their technical virtuosity and subtlety. While previously, Rizki primarily employed a monochromatic colour palette, Rizki is currently exploring a painting technique that uses solid colour particles to emulate how human eyes perceive forms