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.
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.
Gapura Buwana exhibits Gegerboyo’s visual artworks, most of which are drawn on the walls of the gallery. The rest of them are printed and drawn on transparent fabrics that are hung in different positions at a certain distance from the wall. In order to encourage new interpretations of Gegerboyo’s artistic practice, this exhibition highlights their method, which, according to them, is carried out in a “non-systemic” way. This refers to organically drawing, unrestrained by any rigid criterion in terms of visual composition or narrative systems.