At a fundamental level, Sunaryo’s practice has been devoted to painting as a medium. Over the last ten years, his work represents extensive research aimed at answering questions such as: What are the outermost limits for an object so that it can still be called ‘a painting’? Can particular existing visual idioms that are identical to painting still be used to deconstruct the notion of painting itself?
Sunaryo’s paintings have certainly departed from his experiments with materials. Yet, to a conceptual extent, his choice of material is part of an approach towards a method of creation that can transform an object into a painting. For Sunaryo, to paint is to preserve something. Painting, and perhaps other forms of art, represent humanity’s resistance against impermanence. It is partly for this reason that Sunaryo deliberately utilizes resin as a liquid material that seemingly defies time. As it hardens and transforms into a solid, canvas-like, square form, and ‘preserves’ some particular painterly images.
Arin Dwihartanto Sunaryo belongs to a new generation of Indonesian post-1998, Reform artists who represent the country’s contemporary art and the changing socio-political life after the downfall of the New Order, Soeharto repressive regime. He studied painting at Bandung Institute of Technology, Indonesia – graduating in 2001 – and earned an MFA from Central Saint Martins College of Art and Design, London, UK in 2005. Solo exhibitions include: “Ashfall”, Equator Art Projects, Singapore (2013); “Frozen Stratum”, Nadi Gallery, Jakarta, Indonesia (2012); “Fluid Friction” at the SIGIarts Gallery, Jakarta, (2010) and Artipoli Art Gallery, Noorden, The Netherlands (2007); and “Unstable Ground” at the Toni Heath Gallery, London, UK (2006).