Handiwirman Saputra

The painting is in good condition, as is the canvas, which is clear and taut. Examination under ultraviolet light reveals no indication of retouching. The paint layers are intact.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Anyone observing the present work for the first time would unanimously agree that it commands the viewer's full attention. Its composition is stark and simple, with a backdrop of white walls and the palest shade of lavender floor, which makes its only object all the more prominent. Dominating the entire canvas is an unmistakably phallic shape, flesh-toned thing. Its texture seems smooth, but it has irregular crevices, which are mottled with red patches. Visually it is reminiscent of raw flesh stripped away of skin, producing an aesthetic not unlike the figures in Zeng Fanzhi's Mask Series or Francis Bacon's portraits.

The subject in this painting bears no resemblance to the innocent Sesame Street Muppet, Cookie Monster, and yet it is in fact painted after its negative mold. It shows, in fact, what the Cookie Monster would look like if it is turned inside out. The three-dimensional installation of the work, a method Handiwirman always follows, is illustrated on this page, along with its model, the Cookie Monster. The contrast between the two is so jarring and dramatic that the forcefulness of Handiwirman's ideas could not be more persuasive. Between the innocent and the erotic, the cute and the grotesque, the amusing and the frightening, Handiwirman brings forth the existence of duality in a single entity with panache and eloquence. Dalam Tampak Luar – Cookies (Inside Out – Cookies) gives a new significance to the adage "never judge a book by its cover", for true beauty is measured from the inside out.