Katalog Pameran Seni Vektor Madu, Racun, Dan Negeriku, Galeri Salihara, 28 Mei-19 Juni 2011

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Pale HorseMega

TheyhatemydesignLoveshugah

SingpentinkhappyEvergrunge

TracelandvectoriePinkversusblack

Yellow Dino

Madu, Racun & Negriku

Pameran Seni Vektor

2 MaDu, racun & nEgEriku

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maDU, raCUn & neGrikUgaLEri SaLiHara

28 MEi-19 Juni

KuratorGodot Guntoro

Dewan Kurator Seni RupaAsikin HasanGoenawan MohamadNirwan DewantoSitok Srengenge

Juru KelolaDian Ina MahendraRhodiah Safitri

EditorIrma ChantilyDian Ina MahendraNirwan Dewanto

PenerjemahHenny Rolan

Rancang GrafisCecil Mariani

ISBN 978-602-96660-3-8

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SEkaDar PEnganTar

Dalam demokratisasi yang demikian, setiap orang mampu menjadi seniman. Kita dapat menjadi penulis tanpa tergantung kepada kuasa sang redaktur: aneka blog bertumbuhan lebih pesat dari jejamur di musim hujan; Facebook adalah tempat penerbitan terpanas, di mana polemik dan caci-maki begitu sulit dibedakan; dan di Twitter kata-kata mutiara menderai sampai jauh. Dan dengan piranti lunak yang diperbarui setiap saat, kita juga boleh menjadi senirupawan digital. Tersedia aneka ruang pamer di dunia maya; salah satunya (seperti disebut dalam pengantar kuratorial pameran ini) adalah deviantArt, situs dengan jumlah anggota lebih dari 14 juta.

Selaku seni dua-matra, seni vektor menghilangkan—atau kehilangan—semua

ciri lukisan. Kontur yang tebal-tegas, warna-warna tanpa tekstur dan tanpa jejak sapuan, bentuk-bentuk yang kekartun-kartunan—semua ini mudah kita kenali pada seni vektor. Tetapi, saya kira, akan lebih baik kiranya kalau seni vektor kita anggap bukan jenis, melainkan cara. Sebab, semua ciri seni vektor sudah kita lihat hampir seabad ini pada aneka film kartun dan kemudian film animasi. Kita dapat merumuskan seni vektor sebagai seni menggambar-melukis dengan piranti lunak. Mungkin suatu hari nanti, dengan makin berkembang dan “manusiawi”-nya piranti lunak dan keras, seni vektor akan semakin mirip dengan—atau bahkan lebih dari—lukisan. Atau lebih baikkah kita berpendapat bahwa seni vektor memang bukan seni lukis?

Salah satu berkah zaman digital adalah

Ledakan penggunaaan komputer dan internet telah membuat setiap orang mampu menjadi pengabar, pelaku, pelopor dan pencipta untuk berbagai bidang. Untuk sementara ini kita percaya bahwa hirarki di antara kaum spesialis dan orang awam telah runtuh. Ketika bangun pagi, kita lebih dulu bertanya kepada media sosial ketimbang kepada suratkabar. Konon dunia maya bukan lagi perpanjangan dunia nyata, namun sebaliknya. Dan piranti lunak memperluas kemampuan panca-indera. Revolusi tak lagi memerlukan nabi revolusi. Di zaman digital, jenius tak diperlukan lagi.

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bahwa kita bisa bergerak di wilayah abu-abu. Definisi tentang sesuatu, termasuk seni, bisa kita taruh di antara tanda kutip atau di bawah coretan. Jika semua orang boleh menjadi seniman, maka menciptakan adalah merayakan. Jika lukisan menyarikan kenyataan, maka seni vektor melebih-lebihkan kenyataan; jika lukisan mencari kedalaman, seni vektor menggarap yang serba-permukaan. Tapi bukankah sudah lama kita terbiasa dengan yang serba-permukaan dalam seni—sejak Pop Art di tahun 1960-an? Maka bolehlah kita pandang seni vektor sebagai risiko lanjut dari Pop Art.

Artinya, kita tak lagi bisa terkejut dengan kebaruan dan pembaruan dalam kesenian. Seni vektor dapat kita anggap interupsi singkat terhadap kontinum sejarah seni rupa, tapi juga bagian daripadanya. Ia bisa dianggap main-main yang serius, bisa juga anarki yang serba-manis. Dan jika para senimannya menolak untuk menggunakan nama sendiri (seperti yang terjadi dalam pameran ini), seni vektor barangkali juga dapat dianggap sebagai seni oleh mereka yang tidak ingin meninggalkan jejak pribadi dalam sejarah seni atau sejarah apa saja. Seni vektor adalah untuk kegirangan hidup: makin banyak yang mengerjakannya, maka makin banyaklah kegirangan kita.

Namun ada saatnya kita memikirkan kegirangan hidup itu sendiri. Pada akhirnya seni vektor adalah sesuatu, yang menuntut evaluasi yang sungguh-sungguh—entah demi kepentingannya sendiri di masa

depan, entah demi tanggapan khalayak di masa kini. Pameran ini berangkat dari satu anggapan bahwa seni vektor bisa berurat-akar dengan konteks khusus, katakanlah konteks Indonesia. Para seniman itu, sebagaimana dikatakan oleh judul pameran, bukan hanya mengolah madu dan racun dalam kejadian membangsa kita, namun juga membuat karya-karya mereka jadi madu bagi yang percaya kepada perubahan dan racun bagi yang berpihak pada kemapanan.

Pameran ini adalah bagian dari rangkaian pameran kami di tahun ini yang hendak menggaris-bawahi “kesenian yang lain”. Kami percaya bahwa seni rupa senantiasa memperluas rumusan dan amalannya, bahwa “yang lain” itu ada dalam diri kita juga. Para kurator-tamu selalu membantu kami dalam menemukan aneka wilayah tak terduga; kali ini kurator Godot Guntoro mengusung madu dan racun seni vektor untuk kita semua. Bermanis-manis dengan rupa dan berpahit-pahit dengan apa yang melandasi rupa—itulah tampaknya agenda seni yang pantas untuk zaman digital ini.

NirwaN DewaNto

Ketua Dewan KuratorKomunitas Salihara

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SEni VEkTor Dan inDonESia

SEbuaH PErMuLaan

Seni vektor tumbuh seiring perkembangan teknologi komputer. Setelah penggunaan PC (personal computer) menjadi lazim pada tahun 1980-an, muncul kebutuhan untuk meningkatkan fungsinya bagi kebutuhan yang lebih spesifik, salah satunya sebagai penunjang desain grafis. Kemampuan komputer yang mula-mula hanya dapat mengolah teks dan kemudian gambar berbasis piksel—serangkaian titik yang dapat digabungkan membentuk obyek, mengalami perubahan besar ketika mampu mengolah gambar berbasis vektor—rangkaian garis yang kemudian digabung menjadi bentuk tertentu. Olah vektor memungkinkan ukuran gambar diperbesar dan diperkecil tanpa menjadikannya pecah seperti yang biasa terjadi pada gambar berbasis


Perkembangan ini marak terjadi pada akhir dekade 1980 ketika tiga aplikasi pengolah vektor yang legendaris muncul dalam waktu yang berdekatan. Dimulai oleh Adobe Illustrator dan disusul Macromedia Freehand yang dikhususkan bagi para pengguna komputer Macintosh. Sementara CorelDraw, yang diluncurkan belakangan pada tahun 1989, dibuat untuk komputer dengan sistem operasi Windows. Piranti lunak yang saya sebut terakhir berkembang lebih pesat dibandingkan kedua pendahulunya karena sampai saat ini komputer Windows lebih banyak digunakan di negara kita.

Pengenalan teknologi komputer dan piranti lunak pendukungnya di sekolah-sekolah adalah fenomena yang marak sejak awal tahun 1990-an di Indonesia. Pengajaran dan penggunaan aplikasi yang lebih canggih dan spesifik juga dilakukan di berbagai universitas. Pada dekade ini, sejumlah jurusan yang berkaitan dengan, dan yang banyak menggunakan komputer juga mulai bermunculan. Kita kemudian mengenal jurusan Informatika, yang mencakup Ilmu Komputer, Ilmu Informasi, Sistem Informasi, Teknik Komputer dan Manajemen Sistem Informasi. Kita juga

lebih akrab dengan jurusan Desain Grafis, Desain Komunikasi Visual, Animasi Digital, dan lain sebagainya. Gabungan hal-hal tersebut melahirkan satu generasi seniman digital yang nyaris sepenuhnya menggunakan komputer dan piranti lunak grafis untuk memanipulasi gambar dan menciptakan gambar dengan teknik tiga dimensi. Mereka kemudian menghasilkan karya-karya yang pada masa sebelumnya hanya dapat dilakukan secara manual dengan susah payah, bahkan nyaris mustahil.

Lahirnya piranti lunak berbasis vektor dan penerapannya yang meluas dalam dunia desain merupakan sebuah revolusi yang melahirkan kemungkinan penciptaan karya tanpa batas. Karya-karya itu membuka sebuah industri baru yang kemudian berkembang pesat di Indonesia sejak akhir 1990-an. Tak hanya untuk menciptakan ilustrasi bagi media cetak konvensional seperti buku atau poster, aplikasi vektor juga merambah berbagai media, t-shirt, designer toys, aksesoris, skateboard, gadgets enclosure/skin, mural, wallpaper, media interaktif, dan lain sebagainya. Tak melulu industri, negara-negara di Eropa dan Amerika

piksel. Munculnya piranti lunak untuk mengolah vektor, secara singkat, melahirkan era ilustrasi digital, di mana layar komputer menjelma kanvas, tablet grafis setara palet dan pena digital menjadi kuas.

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telah mengadopsi vektor dan karya-karya berbasis digital ke dalam seni media baru yang lantas menjadi salah satu percabangan seni visual.

Keberadaan para seniman digital dan industrinya yang berkembang pesat menunjukkan posisinya yang semakin penting sebagai bagian budaya urban global. Hadirnya berbagai situs dan komunitas online yang didedikasikan bagi perkembangan seni vektor menjadi bukti kepopulerannya. Salah satu komunitas online yang ada adalah deviantArt. Dengan lebih dari 14,5 juta anggota, situs itu memberikan ruang bagi penggunanya, yang sebagian besar para seniman digital, untuk memamerkan karya melalui ‘galeri pribadi’ dan mendiskusikannya dengan siapa pun yang mengaksesnya di seluruh dunia. Begitu pula, secara khusus di Indonesia, berbagai situs dan publikasi online merupakan perintis dalam mempopulerkan vektor pada khalayak.

Fenomena perkembangan seni vektor yang demikian pesat di Indonesia semakin terlihat jelas sepanjang dekade 2000. Tak dapat dipungkiri bahwa masa sepanjang sepuluh tahun terakhir ini merupakan masa yang penting dalam berbagai bidang:

politik, sosial, budaya dan seni. Perubahan besar dalam bidang politik pada 1998 merupakan kejadian yang digerakkan oleh generasi muda—suatu hal yang menempatkan mereka menjadi “pengawas” jalannya kehidupan sosial politik bangsa ini. Fungsi tersebut juga menunjukkan bahwa generasi muda kita memiliki kebanggaan atas identitasnya sebagai bagian bangsa Indonesia, dan bahwa mereka melakukan sesuatu atas kebanggaan tersebut.

Mencermati pemberitaan media, mudah bagi kita melihat sejumlah persoalan yang berawal pada kesalahan pengelolaan yang dilakukan pemerintah. Isu seputar korupsi; standar ganda penerapan hukum pada kalangan berpunya dibandingkan kaum miskin; kelambanan dalam bertindak mengatasi keadaan darurat; penanganan isu untuk kepentingan bersama seperti kemacetan lalu lintas dan pelayanan publik, korupsi dan kebijakan-kebijakan konyol menyangkut kinerja lembaga perwakilan rakyat, adalah hal-hal yang menghiasi media kita setiap hari. Isu-isu yang menimbulkan kegeraman, kekesalan dan kemarahan, bahkan muak. Maka muncullah perasaan-perasaan yang bertolak belakang dengan rasa cinta kita pada tanah air.

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Perasaan yang saling bertolak belakang itu merupakan pengalaman kolektif kita sebagai bagian dari sebuah bangsa selama bertahun-tahun. Jika pada masa lalu, kita sekedar bisa menggerutu lalu perlahan menyesuaikan diri dengan keadaan, pada tahapan berikutnya fungsi pengawasan oleh generasi muda ini dilakukan melalui cara aktivisme yang konvensional seperti demonstrasi. Pada perkembangan selanjutnya, teknologi internet dan kemunculan jurnalisme warga (citizen journalism) melalui situs pribadi atau blog serta aplikasi jejaring sosial, memberi ruang dan suara yang lebih besar bagi fungsi pengawasan ini.

Maka kemudian muncul sejumlah gerakan yang diawali dan dikelola oleh generasi muda, memanfaatkan teknologi yang aksesnya semakin luas di berbagai kalangan dalam masyarakat. Salah satunya adalah kasus Prita Mulyasari, seorang ibu muda yang mengalami kesalahan penanganan oleh sebuah rumah sakit swasta. Ia kemudian menuliskan pengalaman itu melalui email pribadi pada teman-temannya. Ketika email tersebut kemudian disebarluaskan dan masuk ke ranah publik, Prita dituntut rumah sakit

bersangkutan atas pencemaran nama baik. Keputusan majelis hakim yang memenangkan tuntutan rumah sakit dan memerintahkan Prita membayar Rp 204 juta, melahirkan gelombang protes publik melalui jejaring sosial dan kemudian media massa. Maka dimulailah gerakan “Koin Untuk Keadilan”, yang mengajak masyarakat mengumpulkan uang receh sebanyak-banyaknya agar cukup untuk membayar denda itu. Ribuan orang dan berbagai komunitas dari seluruh Indonesia berbondong-bondong menyatakan dukungan, mengirimkan uang receh untuk gerakan ini. Jumlah yang terkumpul sangat luar biasa, bahkan beberapa kali lipat melampaui nominal dana yang diperlukan.

Pameran ini digagas sebagai bagian dari pengungkapan pengalaman kolektif sejenis oleh para seniman. Madu, Racun & Negriku memberikan kesempatan pada para seniman untuk menyampaikan rasa cinta mereka pada Indonesia, sekaligus menyatakan keprihatinan atas berbagai persoalan yang mereka lihat dan rasakan dalam kehidupan sosial kemasyarakatan sehari-hari.

Para seniman yang dipilih dalam pameran ini adalah mereka yang


sejak awal perkembangannya juga memegang andil mempopulerkan seni vektor di Indonesia dan setia berkarya di jalur tersebut—meski ada pula yang bereksperimen atau mengkolaborasikan seni vektor dengan berbagai media lainnya. Sebagaimana ranah seni lainnya, para seniman ini memiliki gaya dan ciri khas berbeda-beda yang dapat ditandai dalam hasil akhir karya mereka, meskipun proses yang dilalui atau aplikasi yang digunakan sama. Sebagian dari mereka menggunakan warna-warna solid, beberapa diantaranya lebih banyak memakai warna gradasi.

Garis tegas dan warna-warna solid adalah ciri khas karya seni yang dihasilkan dari vektor, yang bisa juga disebut sebagai teknik dasar. Aplikasi dari teknik semacam ini bisa dilihat pada film kartun anak-anak, di mana tokoh-tokoh yang digambarkan pasti memiliki garis solid dan warna-warna cerah. Kemungkinan besar hal inilah yang menyebabkan adanya generalisasi bahwa karya yang dihasilkan dengan teknik vektor pasti bergaya kartun, padahal belum tentu demikian. Teknik vektor seperti ini paling tepat digunakan dalam pembuatan karakter desain karena dapat dengan lugas dan jelas menggambarkan karakteristik tokoh tersebut.

Salah satu seniman asing yang diundang berpartisipasi dalam pameran ini, Mega, adalah seniman yang kerap menggunakan gaya tersebut. Karya seniman Prancis yang sekarang tengah bermukim di Bali ini menampilkan sosok-sosok dalam mitologi tradisional setempat yang mewakili pertentangan mutlak antara dua hal yang bertolak belakang: kebaikan dan kejahatan. The Yellow Dino, Loveshugah serta Pinkversusblack yang juga dikenal karena karakter-karakter yang mereka ciptakan, juga berkiblat pada gaya tersebut.

Loveshugah yang dalam tiap karyanya selalu menampilkan dua karakter, sepasang laki-laki dan perempuan, memotret suasana kehidupan Jakarta yang semrawut dan kompleks. Lalu lintas, kepadatan penduduk serta berbagai macam persoalan dikemukakan dengan visualisasi khas yang nyaman bagi mata, cerah ceria penuh warna, jauh dari kesan depresif maupun muram. Bukankah di balik semua keruwetan itu, orang tetap bertahan dan ‘menikmati’ kehidupannya di Jakarta? Tiap tahun lebih banyak yang datang mengais rezeki di kota ini, sementara yang bertahan, meski mengeluh tiap hari, juga tetap tak beranjak pergi.

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Bila teknik dasar tadi dikembangkan menjadi suatu ilustrasi vektor yang terdiri dari beraneka ragam obyek, dipadu dengan penggunaan pola (pattern) dan penggunaan warna-warna gradien, maka sang seniman bisa mendapatkan suatu bentuk ilustrasi yang sangat kaya akan detail dan warna. Teknik ini juga sangat mendukung untuk membuat ilustrasi yang sangat rinci layaknya fotorealistic. Contohnya adalah Pale Horse, seniman asal Amerika Serikat yang menggunakan teknik olah vektor untuk menghasilkan karya yang menyerupai lukisan realistik dengan kombinasi warna yang kontras dan hidup, serta bentuk obyek yang rinci dan bervolume.

Pale Horse yang kerap menampilkan jejak tradisi kebudayaan Asia merespon Indonesia melalui ciri kebudayaan Bali. Ia mengolah visual topeng yang kerap digunakan dalam pertunjukan di mana para penari memainkan drama dan karakter tertentu melalui tarian mereka. Lazimnya, topeng-topeng ini dibagi dalam berbagai karakter, tokoh dewa, hantu, tokoh jahat (baik manusia maupun raksasa), tokoh ksatria (bersifat baik, biasanya pahlawan atau pemimpin) dan tokoh jenaka. Penggambaran yang dibuatnya dalam pameran ini merupakan metafor bagi

sifat-sifat yang bertolak belakang namun senantiasa berdampingan.

Penggunaan perangkat-perangkat khusus seperti gradient mesh atau penggabungan perangkat blend dan gradient dengan pengolahan sedemikian rupa akan menghasilkan karya yang sepintas mirip dengan foto. Semakin detil pengaturan warna di tiap titik akan menghasilkan karya yang semakin realistis, hingga mata awam pun akan sulit mengenali apakah ilustrasi yang mereka lihat itu merupakan foto asli atau hasil olah vektor. Keuntungan utama melakukan teknik ini adalah hasil akhir yang fotorealistis dengan fleksibilitas resolusi yang independen.

Theyhatemydesign, Evergrunge dan Tracelandvectorie adalah seniman-seniman yang dalam pameran ini mempraktikkan kolaborasi teknik tersebut. Evergrunge, dengan karya yang keseluruhannya berwarna merah putih, menggarisbawahi bagaimana nilai-nilai kekerasan menggerogoti msntal kita meski nyaris tanpa disadari; dua pistol yang bersilang, berkelindan, jalin-menjalin berurat mengakar dalam sebuah kepala mekanis yang berjalan saat kenopnya dilepas setelah diputar; sepasang merpati yang berusaha membebaskan diri dari


jalinan rumit itu, berusaha mengepakkan sayapnya, seolah menegaskan bahwa harapan terciptanya rasa aman dan kedamaian akan selalu ada.

Tracelandvectorie menggunakan babi sebagai metafor kepentingan-kepentingan yang menghisap dan melemahkan Indonesia, negara yang dibangun dengan cucuran darah, air mata dan pengorbanan luar biasa. Sebuah keprihatinan melihat perjuangan dan kerja keras sedikit demi sedikit mengalami kemunduran, menjadikannya seolah sia-sia.

Sementara itu Singpentinkhappy mengibaratkan Indonesia seperti sebuah bunga yang besar dan indah—dari luar, ia tampak berwarna-warni kemilau. Namun jika ditilik dengan seksama, bunga tersebut mulai membusuk karena jelmaan monster lebah yang menghisap sari madunya. Meninggalkan bunga itu nyaris layu, mengering dan tak lama lagi akan musnah.

Pameran ini menunjukkan sekelumit gambaran seni vektor di Indonesia, para seniman pelaku dan karya mereka dalam proses perkembangannya selama beberapa tahun terakhir. Saya percaya ini merupakan sebuah awal, sebuah riwayat yang baru dimulai dan masih jauh dari

akhir. Jika saat ini industri lebih banyak merespon karya vektor, diharapkan apresiasi dari kalangan seni semakin meluas seiring dengan gaungnya yang makin nyaring, terutama karena peluang perkembangannya masih terbuka lebar baik di lingkup Indonesia maupun secara global.

May the vector be with you,

GoDot GuNtoro

DiaN iNa MaheNDra

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bio SEniMan


Tracelandvectorie (Aedel Fakhrie) adalah seorang desainer grafis lulusan Interstudi, Jakarta. Ia pernah mengaplikasikan ketrampilannya dengan bekerja di beberapa perusahaan sebelum memutuskan untuk bekerja lepas secara online. Ia pernah terlibat dalam beberapa pameran, seperti Djarum Black Urban Art di Jakarta (2006); Digital Spirit, Jogja Force mini showcase di Yogyakarta (2007); VoxLab School, mini showcase di Singapura (2009); dan Tribute to VJ, mini showcase di Jakarta (2010). Karya-karya vektornya pernah muncul dalam majalah ilustrator Hongkong, IDEA (2008); disertakan dalam buku Worldwide Graphic Design Asia yang diterbitkan oleh Page One (2010); dan muncul pula dalam malajah BabyBoss, Jakarta (2010).

Loveshugah (Amalia Kartika Sari) bekerja sebagai desainer grafis lepas. Lulusan Desain Komunikasi Visual dari Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ini pernah bekerja untuk beberapa produsen pakaian di Bandung dan Jakarta, seperti Charets, Rockmen, Cynical MD, UNKL347, dan Screamous. Ia juga pernah mendesain untuk Kiimono (Inggris), Creative Gen (Belanda), Sunday Outfit (Rumania) dan Woot Shirt (Amerika Serikat). Pernah pula Amalia mendesain untuk beberapa majalah

seperti Jeune, Vektorika, Concept, Babyboss; juga mendesain logo dan merk band elektro dari Amerika: Ultraviolet Sound. Amalia telah beberapa kali terlibat dalam pameran, misalnya dalam pameran Ranger Bastard dengan menampilkan kolaborasi artsitik di Bandung (2004); ikut serta dalam pameran Der Ach dengan membuat custom sneaker dan mural di Bandung (2006); terlibat dalam Black Urban Art Final, Bandung (2007); dan menyelenggarakan pameran tunggalnya, Happily (N) ever After yang diadakan di Jakarta (2010).

Theyhatemydesign (Amenth) adalah desainer grafis lepas dan seorang penata artistik untuk berbagai proyek iklan. Bersama rekan-rekannya di Yogyakarta, ia mendirikan Jogjaforce, sebuah kelompok seni yang meluncurkan e-zine bertajuk DesignDiary dan DesignFlip. Ia juga merupakan anggota dan representatif di Asia untuk Keystone Design Union (KDU)—sebuah kelompok yang menyatukan para desainer dan agensi desain dan komunikasi ternama di Brooklyn, New York, Amerika Serikat. Ia pernah diwawancara dan tampil dalam Solstice Magz mengenai proyeknya yang bertajuk Destroy the Machine (2011); termasuk dalam desainer yang disertakan dalam buku Young Asian Designer yang diterbitkan oleh Daab

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online, Jerman (2008); dan diwawancara oleh Babyboss Magazine, Indonesia (2008); Territory Magazine, Malaysia (2007); dan Idea Magazine, Taiwan (2006). Selain pernah terlibat dalam pameran Get Moving Movable Art di Malaysia pada 2008, Amenth juga merupakan peraih penghargaan Favourite Winner dalam Black Urban Art Competition di Indonesia (2007) dan Gold Award dalam Phinastika Adfest di Indonesia (2004).

Evergrunge (Dhanank Pambayun) adalah ilustrator digital lulusan AKSERI Yogyakarta dan kini mendirikan Evergrunge Inc—ruang pamer resmi untuk pekerjaan profesionalnya, dan Project Alkafiksi—ruang untuk menerbitkan buku cerita bergambar versi online. Ia telah membuat ilustrasi untuk beberapa band komersial, editorial serta terlibat dalam pameran seni offline dan online, seperti The Outstanding Rock Short Film and Video Festival di Ohio (2004); Digital Spirit Republicart Project di Yogyakarta (2006); UK Digital Art Show, Pameran seni digital tahunan di Inggris (2006); Massive Offline International Digital Art Exhibition di Jakarta (2006); Selvolution Jogjaforce di Yogyakarta (2008); ArtCafe Exhibition di Moskow (2010); dan peragaan busana dan pameran seni NINH di New York (2010). Ia pernah diminta oleh ARDT Singapore

sebagai ilustrator t-shirt untuk proyek Holy Suicide (2009) dan memberikan desain ilustrasinya, Cosmos in Lap, untuk buku Backstage Designers Book yang diterbitkan oleh Uberbook (2010). Karya vektornya pernah digunakan sebagai materi promosi produk Puma dalam Puma Football Series yang diminta oleh Robert/Boisen & Like Minded, DK (2008); dan motor Honda, New CBR 600 RR yang diminta oleh Dailey Adv. & Association, Amerika Serikat (2007).

Mega adalah seniman vektor asal Prancis yang sejak 2008 berdomisili di Bali. Karya-karyanya dapat ditemukan di beragam media dari beragai belahan dunia, seperti untuk Novum (Jerman), Faesthetic (Amerika), Men’s Health (Jerman), Is Not (Australia), Clark Magazine (Prancis) dan Babyboss (Indonesia). Ia juga pernah mengerjakan iklan khusus untuk Nike ID di Clark Magazine (2006) dan iklan peluncuran Tiguan Volkswagen (2007). Sejak 2007 sampai tiga tahun selanjutnya, Mega memiliki halaman khusus untuk karya-karyanya dalam majalah Complex terbitan Amerika—majalah lintas budaya dan gaya hidup. Pada 1998, ia turut mendirikan Middle Class, sebuah perkumpulan para seniman grafiti di selatan Prancis. Dua tahun kemudian, Mega menjadi asisten direktur artistik untuk majalah Kink—


menggabungkan berita yang mendalam tentang olah raga dan budaya urban dengan desain yang segar. Ia kemudian menjadi penata artistik untuk majalah WAD—sebuah platform untuk memamerkan karya para fotografer, seniman dan desainer yang berhubungan dengan industri mode. Sejak 2006, Mega mulai bekerja sebagai desainer dan ilustrator lepas untuk mendesain visual skateboard, majalah-majalah, pakaian dan iklan. Dia juga mulai bertanggung jawab untuk urusan artisik majalah Acclaim di Australia dan New Zealand. Mega pernah terlibat dalam beberapa pameran, seperti Forward 3 di Prancis (2010); No Comply di Australia (2007); serta Gaga Experience (2010) dan Sergeant Paper (2011), keduanya diadakan di Prancis.

Pale Horse (Chris Parks) adalah ilustrator dan desainer grafis lulusan Ringling College of Art and Design, Amerika Serikat. Setelah sempat bekerja selama empat tahun sebagai direktur desain grafis di Robrady Design Studio di Sarasota, Chris memutuskan untuk mendirikan studionya sendiri dan mengadopsi nama Pale Horse, pada 2006. Pale Horse telah mengerjakan ilustrasi dan desain grafis untuk beragam perusahaan, seperti Hasbro, Iron Fist, Nike, Dean Guitaras, PBR, Vans, Etnies, Globe, Red Bull, Obrien, Mattel, The Cartoon Network dan

banyak lagi. Selain itu, Pale Horse juga sering kali berinisiatif untuk mengerjakan proyek kolaborasi, seperti Back in Black (2009), pameran sablon t-shirt yang menghadirkan para perancang pakaian ternama dunia; dan menyelenggarakan Golden/Black (2009), sebuah website yang menyediakan karya vektor dan fonts karya berbagai seniman yang dapat digunakan dengan bebas dan tidak dipungut biaya; serta mengkurasi, menjalankan dan berpartisipasi dalam berbagai macam pameran sepanjang tahun, seperti Size Matters, Nova 535, St. Petersburg FL (2009); God’s and Monsters, Pale Horse Gallery, St. Petersburg FL (2009); Monsters in the Mangroves, Super 7, Florida (2010); Edge of Love, Strychnin Gallery, Berlin (2010); dan Point and Shoot Yourself; Pale Horse Gallery, St. Petersburg FL (2010).

Pinkversusblack (Yona Yunistia) adalah pelukis lulusan Fakultas Seni Rupa dan Desain mayor Seni Murni, Institut Teknologi Bandung. Ia adalah seniman visual yang seringkali terlibat dalam berbagai pameran, misalnya, terlibat dalam Children’s Haiku di Jepang dan Indonesia (1994); dalam pameran Japan-Indonesia Relationship yang diadakan di Jepang dan di Indonesia (1995 dan 1997); terlibat dalam pameran Perupa Wanita di Galeri Sumarja, Bandung (2004); Steal Life di Galeri Sumarja (2004); [Re:] post, Japan

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Foundation (2005); Digital Realism di Cemara 6 Galeri, Jakarta (2007); Mereka Tidak Sendiri di Museum Barli, Bandung (2009); dan Street Art Show Breaking the Wall, Taman Ismail Marzuki (2010). Ia juga sering melukis secara langsung di berbagai kesempatan, seperti di Der Arch untuk acara Paper Model & Sneakers Exhibition di Bandung (2006); di Pasar Seni ITB (2006). Karyanya pernah digunakan sebagai emblem Milspecmonkey, perusahaan berbasis Amerika Serikat yang menyediakan perlengkapan militer, digunakan sebagai ilustrasi buku The Little Book of Kawaii yang diterbitkan oleh Page One (2009) dan menjadi ilustrator buku Arnol si Detektif Cilik terbitan Erlangga (2010). Pada 2007, Pinkversusblack pernah menjadi juara tiga dalam lomba desain t-shirt Honda Jazz. Profilnya pernah dimuat dalam majalah Arms Magazine, Jepang (2009); disertakan dalam kolom feature Underdog/Bizzare Artist di majalah Provoke! (2010); dan sebagai Indonesia Young Illustrator and Graphic Designer di majalah Olga! (2011).

Singpenthinkhappy (Yahya Rifandaru atau Pakde) adalah ilustrator, desainer grafis dan seniman olah-digital. Setelah lulus dari Desain Komunikasi Visual ITS Surabaya, ia sempat bekerja sebagai ilustrator di harian Jawa Pos, sebelum akhirnya pada 2005 pindah ke Jakarta dan bekerja di majalah desain grafis, Concept. Singpenthinkhappy

juga pernah menjadi ilustrator lepas untuk Plusminus Clothing di Australia, desainer grafis lepas untuk kantor desain grafis A12 di Australia dan desainer grafis dan ilustrator lepas untuk buletin bulanan PAC, Sumarecon Wonderful Life Magazine dan AdDiction Magazine. Singpenthinkhappy telah beberapa kali mendapatkan penghargaan dalam beragam kompetisi, seperti menjuarai Kompetisi Komik Anak Soleh, Jakarta (2004); serta menjadi juara pertama dan ketiga dalam Kontes Poster dan Stiker untuk Melindungi Harimau Sumatera, Bandung (2006); serta merupakan desainer yang berada di balik kesegaran baru dari logo Citra Pariwara sejak 2006. Karya-karyanya pernah disertakan dalam beberapa pameran, seperti dalam Creative Economic Exhibition 2008, Jakarta; pameran online Red & White bersama Massivelighter (2009); pameran finalis 1001 Cover Concept Magazine dalam 1001 Design Festival & Exhibition, Jakarta (2007); pameran bersama Tribute to Vektorjunkie dalam 1001 Design Festival, Jakarta (2010); dan IDS Creative Space, Jakarta (2010). Kini Singpenthinkhappy bekerja sebagai direktur artistik senior di Forward Indonesia. Terakhir, ia berkolaborasi dengan beberapa seniman vektor dari Jakarta, Yogyakarta dan Bandung dalam produksi kalender digital Invectorwetrust, Vectorforce 2011.


The Yellow Dino (Yudi Andhika) adalah seniman visual yang bergelut dengan desain karakter kontemporer dan street art. Sejak 2003, Yudi tergabung dalam kelompok desainer muda Indonesia, Ranger Bastards—kini dikenal dengan sebutan Mode Four. Ia bekerja menggunakan vektor, grafiti, lukisan, instalasi, mainan dan beragam karya seni lainnya. The Yellow Dino pernah terlibat dalam pameran Medium Rare di Museum Nasional, Jakarta (2005); Cikcuk and Friend Exhibition di Galeri Soemardja, Bandung (2006); Massive Territory, International Design Conference and Exhibition di Galeri Nasional (2007); Djarum Black Urban Art di Kedai Kebun Forum, Yogyakarta (2007); Finest Artwork Showcase, di Vool Shophouse, Makasar (2007); Get Moooving Movable Art di Malaysia (2008); Mereka Tidak Sendiri di Barli Museum, Bandung (2009); Jouwe Custom Show di Artfarty Gallery dan Galerie Zimmermann & Heitmann, Jerman (2010) dan Breaking the Wall, Taman Ismail Marzuki (2010). Ia juga sering terlibat untuk acara membuat grafiti dan lukisan secara langsung, seperti di Artepolis International Architecture Exhibition di Plaza Dago, Bandung (2006); pameran Againts the Wall di Galeri Buton 12, Bandung (2007); Adidasa Sneakers Addict di Embassy, Jakarta (2008). Selain itu, The Yellow Dino juga pernah diundang sebagai pembicara dalam Pecha Kucha Night pada 2008.

KURATOR

GoDot GuNtoro adalah seorang desainer grafis yang mengaplikasikan ketrampilannya untuk membangun identitas korporasi, penerbitan, ilutrasi dan materi cetak lainnya. Ia juga merupakan pendiri majalah Vektorika, majalah dalam format PDF, dan www.vektorjunkie.com yang berperan dalam distribusi majalah ke publik luas secara online. Sejak 2008, ia juga mendirikan studio desainnya sendiri, Welikerock Studio, dan menjadi direktur artistik di Babyboss Magazine. Godot juga telah sering berpartisipasi dalam beragam pameran, seperti Undiscover Territory, Jakarta (2005); Beautiful Junk, Penang, Malaysia (2006); Massive Territory 2007, Design and Art Conference Exhibition, Jakarta; dan juga terlibat dalam pameran kalender In Vektor We Trust #01 di Yogyakarta (2011). Sejak pertama kali diluncurkan pada 2003, Vektorika telah tumbuh menjadi ruang bagi para penggiat dan penggemar vektor dari dalam dan luar negeri untuk memamerkan karya mereka dan bereksperimen.

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karYa-karYa


TracELanDVEcToriE

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Grief100 x100 cmPrint on albattross paper2011

Contaminted100 x100 cmPrint on albattross paper2011

Dissapointed100 x100 cmPrint on albattross paper2011


LoVESHugaH

Jakarta love | hate100 x 100 cmDigital print2011

Because we thought small bites won’t hurt100 x100 cmDigital print2011

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THEYHaTEMYDESign

When Love and Hate CollidePrint on HQ Paper100 x 100 cm2011

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EVErgrungE

Putih Darah100 x 100 cmDigital print on canvas2011

Merah Tulang100 x 100 cmDigital print on canvas2011

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Rangda100 x 100 cmDigital Print2011

Human Character100 x 100 cmDigital Print2011

MEga

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PaLE HorSE

Balinese Dancer100 x 100 cmDigital Print2011

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PinkVErSuSbLack

Pinkversus blackSnakey x beeotch100 x 100cmDigital print2011

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SingPEnTHinkHaPPY

Sing PentikhappyMadu untukmu, racun untukku100 x 100 cmDigital Print2011

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THE YELLow Dino

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The yellow dinoHappy trail 2 x100 x100cm + 50x35cmMix Media, Laser cut-engrave & UV printed2011


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TranSLaTionS


aN iNtroDuCtioN

The surge in computer- and internet-usage has allowed any person to become a bearer of news, an actor, a pioneer, and a creator in various subjects and fields of interest. For the time being, we believe that the hierarchy separating the specialists and the laypeople has been torn down. When we wake up in the morning, we tend to consult various social media outlets before any traditional news sources. It is said that the online world is no longer an extension of the real world. The opposite is true. Furthermore, various types of software have augmented the five senses. Human revolution no longer requires a prophetic figurehead. In the digital world, genius is no longer needed.

This sort of democrati-zation has allowed anyone to become artists. We can become a writer without the intervention of an all-powerful editor: blogs spring up like mushrooms after the rain. Facebook has become one of the hottest publishing hotspots, where polemics and vituperation are nigh on indistinguishable. In Twitter-verse, words of wisdom pop up in droves. The ever-updating pieces of software have allowed anyone to become digital artists. There are various virtual exhibition spaces; one of them, as

mentioned in the curatorial introduction, is deviantArt, a website with more than 14 million subscribers.

As two-dimensional art, vector art has deprived itself of—or has shed—its painting-like characteristics. Bold-and-firm contours, colors without texture or traces of strokes/swipes, cartoon-like shapes and figures—these are things we can easily recognize and find in vector art pieces. However, I do think that it is better to see vector art not as a type or style, but as a method. We have witnessed, in the course of almost a century, all of the characteristics often attributed to vector art appearing in various cartoon- and animation-features. We can conclude that vector art is the art of software-aided/computer-aided drawing and painting. Maybe one day, with further development and humanization of both software and hardware, vector art can become similar to—or even become more than—the traditional art forms of painting (and drawing). On the other hand, is it better for us to conclude that vector art is really not painting?

One of the boons given by this digital age is the ease with which we move within gray areas. The definition of all things, including art, can be placed in between quotation marks or under

strike-marks. If everyone can be an artist, then Creating is indeed celebrating. If a painting serves to sum up reality, then vector art operates on things that scratch the surface. However, are we not used to things that dwell close to the surface, in art, especially since the emergence of Pop Art in the 1960s? Therefore, it is possible to view vector art as perils of Pop Art.

Thus, we can no longer be surprised at the novelties and reforms found within Art. We may look at vector art as a short interruption in the continuum of art history, but also as part of this continuum. We may describe it as a serious lark, or some sort of sweet anarchy. If the artists refuse to use their ‘real’ names (as can be seen in this exhibition), vector art may also be seen as the art practiced by people who have no intention to leave personal traces in art history, or history of any kind. Vector art is done for the gladness it affords life in general: the more people practicing it, the more happiness we can get for ourselves.

However, there are times when we will contemplate and question this happiness in life itself. In the end, vector art is a ‘Something’ that requires an earnest evaluation—either for its own future interests, or in favor of current public acceptance. This exhibition is presented

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with the opinion that vector art can be entrenched within a specific/special context—an Indonesian context, for instance. These artists, as reflected also in the title of this exhibition, are not limited to processing the honey-sweetness and poison-bitter things in our nation-forming circumstances, but more than that, they have situated their art pieces as honey for those who believe in change, and poison for those who side with the establishment.

This exhibition is part of a series of this year’s line-up highlighting “the other arts”. We believe that art is constantly expanding its formulations and practices, that these others are still part of ourselves. Our guest curators have helped us in discovering unexpected regions of forms. This time, Godot Guntoro presents the honeyed- and poisonous-sides of vector art for our scrutiny. We are invited to sweetly explore the visual forms, and to brave the bitterness of the roots of these forms—acceptable art agendas for this digital age we live in.

Nirwan Dewanto Head of Curatorial BoardKomunitas Salihara

VeCtor art aND iNDoNesia; a BeGiNNiNG

Vector art grows alongside the developments in computer technology. As personal computers become more common since the 80s, there is also a growing demand to increase its capabilities and functions to accommodate other specific needs, one of them as a tool to support graphic design. From a computer that can only process text and then pixel-based images—that is, a series of dots put together to create a certain object—computers now has the ability to process vector-based images—a series of lines put together to create objects and images. Vector allows a certain image to be magnified or miniaturized without sacrificing the quality of the image, avoiding pictures to become grainy or pixellated. The emergence of various software applications that can process vector in a relatively short amount of time has led to the era of digital illustration, where computer screens now serve as canvas, graphic tablets are modern-day pallettes, and digital pens serve as artist’s brushes.

A significant development began at the end of the 80s, with the introduction of three important vector-processing

softwares, released to the public in quick succession. Adobe Illustrator was released first, followed by Macromedia Freehand which was specially designed for Macintosh computers. Finally, CorelDraw was released in 1989 to be used with Windows-based computers. This is why CorelDraw enjoys a rapid growth in terms of usage compared to its other two predecessors. Until now, Windows is the most widely-used operating system in Indonesia.

The introduction of computer technology and its supporting software applications in Indonesian schools have gained momentum since early 1990s. The instruction and utilization of more sophisticated and specific suites of software are practiced in various universities. During the 1990s, a number of higher education faculties and departments specializing in computer-related teaching and knowledge dissemination are founded. We are now familiar with the Faculty of Informatics, hosting a number of departments including Computer Sciences, Information Sciences, Information Systems, Computer Engineering, and Information System Management. We are also familiar with


such departments as Graphic Design, Visual Communication Design, Digital Animation, and many more. All of these combine to create a generation of digital artists who use computers and graphics software almost exclusively. They are now able to produce pieces that, in the previous generation, need to be done manually and painstakingly, not to mention pieces that are almost impossible to create.

The introduction of vector-based software and their application has permeated through the world of design as a revolution that allowed for unlimited creative exploration. The resulting products of these explorations opened up a new industry that grew very rapidly in Indonesia since the end of 1990s. Vector graphics are not limited to illustrations made for conventional print media such as books and posters. They penetrate various media, such as t-shirts, designer toys, accessories, skateboards, gadget enclosures and skins, murals, wallpapers, and interactive media. Furthermore, they reach outside of the industrial barrier. In Europe and the US, vector graphics are adopted into digital-based artworks, and new media art became one of the newly-

established branches of visual art.

The presence of these digital artists and their industries grew even more rapidly to further claim its position of importance as part of global urban culture. Many websites and online communities began to establish themselves as spaces dedicated to the development of vector art forms, as a response to its popularity. One of the largest communities of its kind is deviantArt. With more than 14,5 million subscribers, this site has provided a space for its users—most of them digital artists—to display their works through ‘private galleries’, providing a place for them to discuss their work with anyone from anywhere around the world. As well in Indonesia, various websites and online publications have become pioneers, opening the way and popularizing vector graphics to the public.

As a phenomenon, this rapid development of vector art in Indonesia is even more evident throughout the first decade of the 21st century. It is evident that these past ten years contain some of the most important milestones in various fields: in politics, culture and society, as well as art. The shift of the Indonesian political landscape in 1998 was largely generated by the younger generation—a

circumstance that has subsequently placed them as the nation’s watchmen. This function demonstrates how our younger generations are proud of their identity as Indonesians, and they are determined to do something to show their pride in their nation.

From news reports, it is easy for us to see that a number of national problems stem from government mismanagement. Issues, such as those of corruption; double standards in law enforcement between the haves and have-nots; slow disaster response; slowness in general (in solving various public-interest problems such as traffic jams and inefficient public service sectors); absurd public policies and the work of the legislative, are common themes encountered in various news media. These issues have incited anger, annoyance, enmity, and even nausea. These in turn foster feelings that go against national pride and affection.

These opposing feelings are part of our collective experience as a nation. In the past, we were only able to grumble inwardly, slowly adjusting ourselves to the prevailing conditions. In subsequent developments, the supervisory function of the younger generations manifests itself through conventional activism, such as demonstrations and

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marching on the streets. Finally, the internet and the rise of citizen journalism through personal websites or blogs, as well as social network and social media applications, has provided a wider space and a louder voice for the younger generations to perform their role as watchmen.

This led to the several movements, wholly conceived and managed by members of these younger generations, effectively utilizing technology with its ever-widening access to almost all social strata. One of the most striking examples is the case of Prita Mulyasari, a young homemaker who was mistreated in a private hospital. She then wrote of her experiences in a personal email to her friends. Once her email entered the public domain, Prita was sued by the hospital on libel grounds. The panel of judges ruled in favor of the hospital, ordering Prita to pay Rp 204 million in damages. This led to a wave of public protest, first through social media outlets, quickly followed by mainstream news media. Thus “Koin Untuk Keadilan” (Coins for Justice) was born, inviting members of the public to collect as many coins as possible to help lessen her burdens. Thousands of people and almost as many communities from all over Indonesia voiced their resounding support by sending coins they

managed to collect. In the end, the amount collected far exceeded the original intent, several times over.

The idea of this exhibition stems from the expression of the artists’ collective experiences. Madu, Racun, dan Negriku (literally: [Sweet] Honey, [Bitter] Poison and My Country) provides an opportunity for these artists to express their affection for Indonesia, as well as airing their concerns over a variety of conditions they see or experience in their everyday life.

The participant artists of this exhibition are those who have lent their influence to popularize vector art in Indonesia since its early days, and have continued to create and travel down this road—although there are also many of them who have moved to experiment with or combined vector art with various other media. As seen in any other artist in different platforms, these artists possess their own distinctive styles and characteristics, which are quite readily apparent in the pieces they create; this is despite the fact that there might be similarities in their creative processes or in their choice of software applications. Most of them choose to use solid colors, though some of them tend to prefer color gradations.

Bold lines and solid colors are all distinguishing characteristics of vector

graphics, often seen as vector’s most basic techniques. We can see examples of this technique in cartoons for children, where the characters are drawn using solid lines and cheerful colors. This is probably what led to a generalization that works rendered in vector techniques would most likely adopt a cartoonish-tendency, although this is not always the case. This sort of technique is most appropriate for character design, as it allows the artists to describe the character’s features clearly and directly.

Mega is one of the foreign artists invited to participate in this exhibition. He is known to have frequently used this particular style. This French artist, currently living in Bali, presents local traditional mythological figures, symbolizing the absolute paradox between the two opposing forces of virtue and evil. The Yellow Dino, Loveshugah and Pinkversusblack are also known for their characters created in the style of the aforementioned techniques.

Loveshugah whose works have always featured two characters, a couple—a boy and a girl, depicts Jakarta with its chaotic and infinitely complex atmosphere. The traffic jams, the suffocating population density, and various other urban problems are communicated using unique visuals that are easy


on the eyes, full of vibrant colors, and quite detached from any depressive or gloomy impressions. For despite all the apparent chaos, many people still persevere, ‘enjoying’ life in Jakarta. Every year, a new influx of people arrives in Jakarta to make their fortune. While those who stayed, despite their costant complaints, never made any move to leave this city.

If the aforementioned basic technique is further developed into a vector illustration consisting of many objects, combined with pattern applications and gradient colors, then the artists will have arrived in a sort of illustration style that is rich in details and colors. This technique accommodates the creation of a detailed illustration reminiscent of photo-realism. One such artist is Pale Horse, an American artist who utilizes vector techniques to create works that brings to mind realistic paintings, with their lively and contrasting colors, in addition to objects that are detailed and volumed.

Pale Horse has often highlight traces of Asian traditional culture, and he responded to Indonesia by highlighting Balinese characteristics. He expanded upon the visual forms of the masks often used in performances where dancers present certain dramatizations or characters through their

dance movements. Usually, these masks are divided into several character categories: deities, demons, villains (both humans and giants), authoritarians (protagonists, often heroes or leaders), and comical characters. The visualization presented in this exhibition is a metaphorical representation of these opposite characterizations, though they always exist side by side.

The use of special utilities such as gradient mesh, or the combination of blend and gradient utilities in an artist’s treatment of his subjects, have led to photograph-like pieces. The more details paid to the color structure in each segment, the more each piece resembles a photograph, so much so that an amateur’s eyes can no longer distinguish whether the piece in front of them is a photograph or vector graphics. One of the main advantages of this technique is the photorealistic end-result with a independent and flexible picture resolution.

In this exhibition, Theyhatemydesign, Evergrunge, and Tracelandvectorie, represent the group of artists who practiced this type of combination technique. Evergrunge, with his red-and-white works, highlight how destructive values have eroded our mentality almost without us being conscious about it. Two crossed pistol, threaded, spun, rooted in a

mechanical head that will spring into action once the knob is given a good turn and released. A couple of turtledoves is seen trying to escape this intricate web, trying to flap their wings, as though trying to emphatically declare that there will always be hope for peace and freedom from harm.

Tracelandvectorie uses swine as a metaphorical representation of those interests that are slowly sapping and crippling Indonesia, a country that was built on blood, tears, and immeasurable sacrifice. There is a great concern that the fruits of these struggles and hard work are being eroded slowly but surely, rendering the sacrifices of our forefathers almost meaningless.

Singpenthinkhappy likens Indonesia to an outwardly big and beautiful flower. However, upon closer inspection, we can see how this flower is wilting as a monstrous bee sucks all of its honey out. This bee has left the flower to wither away, drying up, and soon it will perish.

This exhibition hopes to demonstrate a small part of Indonesian vector art landscape, an introduction to the artists and their works, as well as their developments within the past few years. I believe that this is a beginning, the start of a journey, its end nowhere in sight. If more

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and more industries respond favorably to vector graphics and art, we hope that the art public’s appreciation will also continue to expand, as vector art resonates even more. This is especially true as there are still various opportunities for development, in Indonesia and beyond.

May the vector be with you,

Godot Guntoro Dian Ina Mahendra

Asia, published by Page One (2010); and featured in BabyBoss magazine (Jakarta, 2010).

Loveshugah (Amalia Kartika Sari) is a freelance graphic designer. She graduated from the Department of Visual Communication Design, the Faculty of Art, Bandung Institute of Technology. She has worked for various clothing company in Bandung and Jakarta, including Charets, Rockmen, Cynical MD, UNKL347, and Screamous. She has also designed for Kiimono (UK), Creative Gen (The Netherlands), Sunday Outfit (Romania), and Woot Shirt (US). Amalia has designed for various magazines, such as Jeune, Vektorika, Concept, and BabyBoss. She has also created the logo and band-identity for a US-based electro-band, Ultraviolet Sound. Amalia has participated in various exhibitions: Ranger Bastard, showcasing an artistic collaboration, in Bandung (2004); invited to participate in Der Ach exhibition where she created custom sneakers and mural art, taken part in Black Urban Art Final, Bandung (2007); and had her solo exhibition, titled Happily (N)ever After in Jakarta (2010).

Theyhatemydesign (Amenth) is a freelance graphic designer and an artistic director for various advertising projects. Together with his friends

in Yogyakarta, he set up Jogjaforce, an art group which publishes a number of e-zines: DesignDiary and DesignFlip. He is also a member and Asian representative of Keystone Design Union (KDU)—a group connecting designers and various design-and-communication agencies in Brooklyn, New York, US. He was featured in Solstice Magz, speaking on his project titled Destroy the Machine (2011). He was selected to be included in Young Asian Designer book, published by Daab Online, Germany (2008). He has been interviewed by BabyBoss Magazine, Indonesia (2008); Territory Magazine, Malaysia (2007); and Idea Magazine, Taiwan (2006). In addition to his involvement in Get Moving Movable Art exhibition in Malaysia (2008), Amenth has also received the Favorite Winner Award at Black Urban Art Competition in Indonesia (2007) and Gold Award at Phinastika Adfest, Indonesia (2004).

Evergrunge (Dhanank Pembayun) is a digital illustrator, graduated from AKSERI Yogyakarta who has gone to establish Evergrunge, Inc—an official space to exhibit his professional works, and Project Alkafiksi—as a space to publish online graphic novels. He has created illustrations for various commercial bands, editorials and

Tracelandvectorie (Aedel Fakhrie), graduated from Interstudi, Jakarta, and is now a graphic designer. He has applied his skills by working in various companies before finally deciding to freelance over an online platform. He has been involved in various exhibitions, like Djarum Black Urban Art in Jakarta (2006); Digital Spirit, Jogja Force, a mini-showcase in Yogyakarta (2007); VoxLab School, a mini-showcase in Singapore (2009); and Tribute to VJ, a mini-showcase in Jakarta (2010). His vector art works have been featured in Hong Kong-based illustrator magazine, IDEA (2008); selected for inclusion in Worldwide Graphic Design

artist’s Bio


has been involved in a number of online- and offline- art exhibitions, such as The Outstanding Rock Short Film and Video Festival, Ohio (2004); Digital Spirit Republicart Project, Yogyakarta (2006); UK Digital Art Show, an annual digital art exhibition held in England (2006); Massive Offline International Digital Art Exhibition, Jakarta (2006); and Selvolution, Jogjaforce, Yogyakarta (2008), ArtCafe Exhibition in Moskwa (2010) and NINH, a fashion show and art exhibition in New York (2010). He was requested by ARDT Singapore to participate as T-shirt illustrator for the Holy Suicide project in 2009; as well as providing his illustration design, Cosmos in Lap, for the Backstage Designers Book, published by Uberbook (2010). His vector art works were featured as promotional materials for Puma Football Series as commissioned by Robert/Boisen & Like Minded, DK (2008); and Honda New CBR 600 RR promo materials commissioned by Dailey Adv & Assoc., US (2007).

Mega is a French vector-artist who calls Bali his homebase since 2008. His works can be found in publications and media in various parts of the world, like Novum (Germany), Faesthetic (US), Men’s Health (Germany), Is Not (Australia), Clark Magazine (France),

and BabyBoss (Indonesia). He has worked on an exclusive advert for Nike ID in Clark Magazine (2006), as well as an advertising commissioned for the launch of the VW Tiguan (2007). Since 2007, and for the following three years, he maintains a regular segment showcasing his works in Complex, a US cross-cultural and life-style magazine. In 1998, he co-founded Middle Class, a graffiti collective based in the South of France. Two years later, he became Assistant Artistic Director for Kink magazine, combining in-depth sports- and urban culture-news with fresh graphic designs. He then became artistic director for WAD magazine—a platform for photographers, artists, and designers to showcase their fashion-related work. Since 2006, Mega has worked as a freelance designer and illustrator providing visual designs for skateboards, magazines, clothing, and advertising. In addition, he has participated in various exhibitions, such as Forward 3, France (2010); No Comply, Australia (2007); as well as Gaga Experience (2010), and Sergeant Paper (2011), both of which were held in France.

Pale Horse (Chris Parks) is an illustrator and graphic designer who graduated from Ringling College of Art and Design, US. In 2006, after a four-year experience

as director of graphic design at the Robrady Design Studio, Sarasota, Chris decided to found his own studio, adopting his Pale Horse moniker. He has been involved in creating illustrations and graphic design work for various companies, amongst others: Hasbro, Iron Fist, Nike, Dean Guitaras, PBR, Vans, Etnies, Globe, Red Bull, Obrien, Mattel, and the Cartoon Network. In addition, he has often initiated several collaborative projects, such as Back in Black, an exhibition of screen-printed t-shirts, featuring some of the world’s top fashion designers. He established Golden/Black (2009), a website that provides free vector art and fonts created by various artists. He has curated, organized, and participated in various exhibitions throughout the years, including Size Matters, Nova 535, St. Petersburg, Florida (2009); Gods and Monsters, Pale Horse Gallery, St. Petersburg, Florida (2009); Monsters in the Mangroves, Super 7, Florida (2010); Edge of Love, Strychnin Gallery, Berlin (2010); and Point and Shoot Yourself, Pale Horse Gallery, St. Petersburg, Florida (2010).

Pinkversusblack (Yona Yunistia) is a painter who majored in Fine Arts at the Faculty of Art and Design, Bandung Institute

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of Technology. She is a visual artist who has been involved in many exhibitions, for example, in Children’s Haiku exhibition in Japan and Indonesia (1994); a number of Japan-Indonesia Relationship exhibitions held both in Japan and Indonesia (1995 and 1997); as well as Perupa Wanita, an exhibition held at Galeri Sumarja, Bandung (2004); Steal Life, Galeri Sumarja (2004); [Re:]Post, Japan Foundation (2005); Digital Realism, Cemara 6 Galeri, Jakarta 2007; Mereka Tidak Sendiri, Museum Barli, Bandung; and Breaking the Wall, a street art show at Taman Ismail Marzuki, Jakarta (2010). She has also painted live in various events, including at Der Arch in the Paper Model & Sneaker Exhibition in Bandung (2006); as well as at Pasar Seni ITB (Art Market at Bandung Technology Institute, 2006). Her work was featured as the emblem of Milspecmonkey, a US-based company operating in the military-weapons industry. Her illustrations is featured in The Little Book of Kawaii, published by Page One (2009). She is the illustrator of Arnol si Detektif Cilik (Arnol, Kid Detective), published by Erlangga (2010). In 2007, Pinkversusblack took third place in Honda Jazz T-Shirt Design Competition. She was profiled by Arms Magazine,

Japan in 2009; Provoke! magazine featured her in its Underdog/Bizarre Artist column (2010); and in Olga! magazine as Indonesian Young Illustrator and Graphic Designer (2011).

Singpenthinkhappy (Yahya Rifandaru or Pakde) is an illustrator, graphic designer and digital artist. Graduated with a degree in Visual Communication Design from ITS Surabaya, he worked as an illustrator for Jawa Pos, before moving to Jakarta in 2005 to work for Concept, a graphic design magazine. Singpenthinkhappy has also freelanced for various companies such as Plusminus Clothing, Australia (as illustrator), A12, a graphic design firm in Australia (as graphic designer); as well as freelance illustrator for various publications such as PAC, Summarecon Wonderful Life Magazine and AdDiction Magazine. He has also received various awards from many competitions, among them: winner, Anak Soleh Comic Competition, Jakarta (2004); first and third place in ‘Protect Sumatran Tiger’ Poster and Sticker competition, Bandung (2007). He is also the man behind the fresh look of the Citra Pariwara logo since 2006. His art works have been featured in various exhibitions, such

as the Creative Economic Exhibition, Jakarta (2008); Red & White online exhibition with Massivelighter (2009); Concept Magazine Cover competition finalists exhibition at the 1001 Design Festival & Exhibition, Jakarta (2007); Tribute to Vektorjunkie group exhibition at the 1001 Design Festival, Jakarta (2010); and IDS Creative Space, Jakarta (2010). Now, Singpenthinkhappy is working as senior artistic director of Forward Indonesia. Most recently, he has collaborated with various vector artists from Jakarta, Yogyakarta, and Bandung in producing the Invectorwetrust digital calendar (Vectorforce, 2011).

The Yellow Dino (Yudi Andhika) is a visual artist who specializes in contemporary character design and street art. Since 2003, he has been involved in a group of young Indonesian designers, Ranger Bastards—now known as Mode Four. He works with vector and various other media including, graffiti, painting, installation, toys, and various other art pieces. He has been involved in various exhibitions: Medium Rare, National Museum, Jakarta (2005); Cikcuk and Friend, an exhibition at Galeri Soemardja, Bandung (2006); Massive Territory, International Design Conference and


Exhibition, at the National Gallery (2007); Djarum Black Urban Art at Kedai Kebun Forum, Yogyakarta (2007); Finest Artwork Showcase, at VoolShophouse, Makassar (2007); Get Moooving Movable Art, Malaysia (2008); Mereka Tidak Sendiri (They Are Not Alone), Barli Museum, Bandung (2009); Jouwe Custom Show, Artfarty Gallery and Galerie Zimmermann&Heitmann, Germany (2010), and Breaking the Wall, Taman Ismail Marzuki, Jakarta (2010). He is often involved in various live-graffiti and live-paining events, such as the one at Artepolis International Architecture Exhibition, Plaza Dago, Bandung (2006); Against the Wall, an exhibition at Galeri Buton 12, Bandung (2007); Adidas Sneakers Addict, Embassy, Jakarta (2008). In addition, he has been invited to speak at Pecha Kucha Night (2008).

Curator

Godot Guntoro is a graphic designer who applies his skill to build corporate identities, as well as in the field of publishing, illustration, and other print materials. He is the founder of Vektorika, a magazine published in PDF format, and vektorjunkie.com, that acts as an online magazine distribution media, making it accessible to the wider public. Since 2008, he has founded his own design studio, Welikerock Studio, and acting as artistic director of BabyBoss Magazine. Godot frequently participates in various exhibitions, such as: Undiscover Territory, Jakarta (2005); Beautiful Junk, Penang, Malaysia (2006); Massive Territory 2007, a Design and Art Conference exhibition held in Jakarta; as well as In Vektor We Trust #01 calendar exhibition in Yogyakarta (2011). Since its first launch in 2003, Vektorika has grown into a space where vector-artists and -enthusiasts from Indonesia and abroad may showcase their work and experiment freely.

Katalog Pameran Seni Vektor Madu, Racun, Dan Negeriku, Galeri Salihara, 28 Mei-19 Juni 2011

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