Unity #18 - about A Time, 2017
Acrylic on Canvas, 120 x 150 cm
About the artwork
j Human emotions are defined by a variety of colors. In this series, colors are used to represent different emotions - red for anger, blue for anxiety, gray as a sense of indecision, and so on. The clocks here are a representative of time. In the ‘time’ that has passed, many events would have happened and in them, a variety of emotions involved. Sometimes they are straightforward, others, they are a mix of complex and multi-layered emotions. To better understand the nuances of these emotions, we generally undergo phases of contemplation and self-reflection where multiple emotions converge to a single point in which we better understand our infernal. Through this, we learn to control our emotions better confront the struggles in daily life. As the quote goes, time heals everything.
About the artist
Born in 1981 in Semarang, Indonesia, artist Vani Hidayatur Rahman is currently based in Jogjakarta. He has shown his works in various group exhibitions including ArtJog 2013: Maritime Culture, Taman Budaya Yogyakarta; Return to Home, International Union of Unified Ummah Cartoon Contest, Iran (2012); Manifesto, Indonesian National Gallery, Jakarta (2010). Vani has received a number of art awards including the Best Painting accolade at the 2012 Jakarta Art Awards and was a finalist at the 2008 Jakarta Art Awards.
Vani Hidayatur Rahman has made a name for himself with his distinctive and realistic style. With his highly complex paintings that are adorned with detailed embellishments, Vani imbues a strong concept and story into each piece and addresses pertinent political, social and environmental issues that span war to pollution. In his artwork entitled "Unity," Vani depicts a large ark - a motif that has been reiterated by other Indonesian painters such as Widayat and Amrus Natalya. However, Vani presents his own interpretation of the timber vessel by painting it in an unfinished stage of construction and glory - a group of workers on deck are still sawing, carrying wooden beams and measuring for dimensions. The flurry of activity is painted from a birds-eye view and aerial perspective, with the entire structure and frame visible - allowing the viewer to feel as if he or she is an omniscient being looking down from above.