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."

Uncluttered minimalism has been one of Handiwirman Saputra's identifying factors. His compositions are clean and simple, characterised by an austere background in a pastel palette, with one or two objects positioned at the center. By revealing so little it entices the viewer to ponder upon it more. Handiwirman constructs a beautiful, poignant and personal language of quotidian objects that do not make any visual sense yet are still profoundly poetic, intriguing, confusing and ethereal all at the same time.

Seri Bidang dan Bayangan – Kapuk I (Plane and Shadow Series – Kapuk I) is a kind of surrealistic still life about the nature of discordance and polarity, and their ultimate harmony and inseparability. In this painting, the subject matter is a large piece of cloud-like substance. It possesses all the appearance of fluffiness and weightlessness, but the carefully sculpted shadows around the edge could not hide hints of its solidity. The title also reveals that the object is in fact, kapuk, a moisture-resistant, resilient, short silk-cotton fibre that is sometimes used to stuff bedding and upholstery. The silhouette is reminiscent of a squirrel-shaped pillow or mattress hanging on its tip from a single bright fluorescent tube. It is a mass that would not have been supported by the delicate light tube in reality. Handiwirman truly excels in this type of conundrum. Suddenly what began as something simple has morphed into a riddle.

Fluorescent tubes are often associated with economy, efficiency, and versatility, and although their luminosity is not as strong as that of incandescent light, their glow is consistent and evenly distributed. In its simplicity, with neither pomp nor grandeur, it is reliable and it delivers. Adept at symbolisms drawn for his own spiritual and cultural experiences, Handiwirman employs this humble light as a metaphor for grace, diligence, fairness and all things good. In the context of this work, one may gain wisdom from learning about the strength and characteristics attributed to the fluorescent: to be economical, hard-working, adaptable, and just.

In Handiwirman's metaphorical world, where only the essence prevails, the fragile is as sturdy as goodness is strength. The area near the source of light is bright enough to make the top section appear like an unblemished white, but as it goes farther away, the shadow reveals every uneven lump on the surface of the lower section. In many ways, it is as if the light hides all the shadows and imperfections. In the same way, although each and everyone are inescapably and understandably flawed, by learning to live well and to be good, everyone can live in the light. Seri Bidang dan Bayangan – Kapuk I (Plane and Shadow Series – Kapuk I) is a celebration of a kind of self-effacement sublimated by the comfort of universal symbols, a dream-like lyricism, and a longing for the highest humanist ideals.