I Nyoman Masriadi

This work is in good overall condition as viewed. Framed.
"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."

Nyoman Masriadi is highly regarded for his satirical works, which often create narratives that touch upon his anti-establishment ideologies. He is notorious for his fresh and humorous narratives with controversial messages that shock viewers. Principal premises in his study unveil superhuman like figures whose witty narratives are relevant to Indonesia’s history and contemporary life interwoven with global pop culture. By depicting arresting caricatures, the contemporary artist employs the physicality of the masculine body as a conduit to signify strength and human fallacy.

While Masriadi’s motives are not necessarily political, his paintings comment on the nuances of social hierarchies, ultimately inciting a dialogue with his audience. The artist said: “One of my ways of saying something is through my paintings. I want to speak about something; I want to tell something to people, to criticize, like what writing is maybe to you. That's my idea. I’ve always been doing that a lot. If I criticize somebody, if I am angry with somebody, [I tell it] through my paintings."¹ Inevitably, his visual vocabulary is refreshing, as it is contemporaneously relevant and based on his close observation of behavioral traits.

Masriadi’s style and composition have changed progressively throughout the years, particularly after he returned to Yogyakarta from Bali. Between 1999 and 2000, the figurative forms he preferred earlier were transformed into synthetic representations, sans color and brushwork.² Representationalism began dominating his opus, for the body became the “new weapon” in his works.³ His quintessential, exaggerated depictions of human forms mimic the abnormality and distortion of order and normality. The viewer’s inevitable reaction towards the visual impact of these hyperbolic figures reveals the natural human aversion towards the existence of imperfections.

The artist grew an obsession with athletic, sturdy male bodies endowed with a force that conjured a hybrid of human and machine, amplifying the human potential of power and perseverance. “It was not just dark figures. It was an abstract compilation of different inspirations, a bit of Picasso and other sources. I was creating from different sources and made adjustments as I went along, with the input of inspirations, so it was never fixed from start,” the artist said.⁴

The present lot is an exceptional and unique piece from Masriadi’s oeuvre, as it serves as a critique of the education system. A robust man with dark, gleaming skin commands the picture plan as he precariously holds a tall pile of books and folder, which reach up to his chin. Bearing a gratified expression on his beaming face and armed with an teeming backpack, he looks forward with squinted eyes and exclaims, “I still proud of my self.” The grammatical error in the speech bubble highlights an inconsistency between his broken language and his confidence about his academic performance. Perhaps this irony serves to expound on the inefficiencies within the education system, which often builds empty self-assurance. It is evident that the intellectual capability of the massive male figure does not equal his prevailing carnal strength.

Masriadi’s paintings are often visual autobiographies that refer to his own life experiences and personal sentiments. It is conceivable that his dissatisfaction for possibly his own academic experiences at The Indonesian Art Institute (ISI) is revealed in Proud. “Maybe the way they teach at ISI is wrong; we can’t change so much in the way we work,”⁵ he said. Feeling somewhat restricted under immense pressure to complete his assignments, Masriadi felt that he did not have enough freedom to create.⁶ The heavy and unending stack of books featured in Proud is concomitant to the burden of assignments that stymied his innovation. After he curtailed his schooling at this prestigious academy and forayed into his own aesthetic pursuits, his new paintings unveiled his true voice. Masriadi’s pieces reveal a dynamic personality that speaks to viewers as outspoken and bold. The artist is an individual who actively defies societal expectations, and his collection of paintings can be seen as an exciting and oftentimes satirical analysis of modernity. The present painting expresses his uncompromising attitude towards the academic authority and his antipathy towards overstraining academic syllabi.

“Earlier, the physique is more personal. I tried to go that way yet I abandoned the idea, now. The physique can be managed in every kind of way. For example this painting, well, these ones, the physique is wrong. Well this one is sturdier. Not to be comical, no, but more or less classic, more classic…There is more formation of figure,” Masriadi said.⁷ Additionally, Masriadi has permeated his work with the language of graffiti. With a marker, he has inscribed small drawings hidden within the larger picture. Masriadi has been greatly influenced by graphic novels, films and computer games which could explain the comical outlook of his paintings.

As a recent work of Masriadi, Proud represents his own upbringing and his observations of pervasive social issues in Indonesian society. This strong work unfolds people’s indulgence in their self-efficacy that unconsciously denies their imperfection. In this narrative, masculinity overwhelms intelligence. The imbalance of power invites the audiences to re-evaluate the methods of instilling knowledge into students, who accept these systems submissively. Masriadi employs dark humour to parody the weaknesses of human beings and the academic system. An active critic of Indonesia’s socio-politics, Masriadi never ceases to entertain his viewers with his tongue in cheek humour and oftentimes sardonic outlook of the realities of life.

¹ T.K. Sabapathy, Nyoman Masriadi Reconfiguring the Body, p. 115

² Refer to 1, p. 53

³ Refer to 2

⁴ Refer to 1, p. 115

⁵ Refer to 1, p. 23

⁶ Refer to 1, p. 23

⁷ Refer to 1, p. 103