In that context, we can no longer limit sketches to manual, hand-drawn scribbles on a piece of paper. In reality, images from the (digital) media have taken a role as “medium of sketches”. The presence of sketches, for Gegerboyo, has transformed into a far larger vehicle than the limited scope of a manual scribble on a paper.
Ghost light is the entrance to then widen the gaze. The method we take is to re-abstract the artistic objects that Dalijo has created. Then parse the narratives around the installation elements and at the same time imagine the possible repertoire. Then pack it back into one statement: wound and venom I carry as I’m running.
The “non-systemic” drawing workflow that has been implemented by Gegerboyo is, in fact, an attempt to go beyond the boundaries of the consecutive system. As we can see in this exhibition, titled Gapura Buwana, the visual tsunami on Gegerboyo’s walls is fragmental instead of sequential—the fragments of the images interrupt one another, resulting in a visual solidity.
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The issue that forms the basis of the artistic practices of Elia Nurvista and Youngho Lee, through which they attempt to draw connecting threads in this exhibition, is an enthusiasm for representing the phenomena of global migration of resources. They have investigated a number of these sources as historical issues, while others have been collected from contemporary encounters.
When we were hit by the Covid-19 in the month of Ramadan, my friends and I initiated to create a drama series in a local language, which was started from a mere friendship networking that now became a collective. We hope that it can be an option for entertainment during self- quarantine.
Along with four artist friends of mine who live outside Palu City, I initiated an online meeting (live streaming via Instagram) for our drawing project and storytelling, I gave it a title as Daring Drawing.
At the beginning of March when I was in Makassar, I joined a deep language training organized by LPDP for three months, March-June. It had been exactly two weeks when I had face-to-face learning and the news about Covid-19 arose and got worse.
Kitchen has been my sweet escape during this self- quarantine due to the Covid-19. Various recipes were made and became an endless experiment. One day, a pack of limes fossils from my uncle who lives in Sukabumi were decaying in a fridge.
In the beginning of March, Yogyakarta set a state of emergency. Practically, there was not much we could do outside the house. At that time, my collective, Gegerboyo, was finishing a project titled “International Mural by Mail” which was one of the projects from a gallery in Portland, Oregon, United States of America.
