Noviadi Angkasapura drawing
Noviadi Angkasapura drawing
Born November 25, 1979 in Jayapura, Indonesia “I am not a religious fanatic. I am a Moslem and I learn. I also learn all kinds of religions that developed in Indonesia, read their books, including some spiritual teachings from Indonesia and other countries, all have valuable teachings.
From this I conclude, that I should continue to work (drawing), do something useful for the world, leave something for my children and my descendents, the environment and even the world, something that will be useful for their future.”
Noviadi Angkasapura 2015 Noviadi Angkasapura was born in Irian Jaya, Papua New Guinea in 1979. His mother came from Central Java and his father from East Java. They met in Irian Jaya, settled there and had two sons. Angkasapura lived there through high school. He remembers it as being a cultural polyglot, with immigrants from many of the Indonesian islands like Borneo, Sulawesi, Sumatra, Bali, Madura, Papua New Guinea and others. Irian was a cultural melting pot for these islanders.
There is a narrative in Angkasapura’s drawings that instinctively draws upon the Wayang scrolls of Bali as well as the Javanese narrative scrolls, also from the protean Asian drama, the Ramayana. But he copies nothing. In fact he has hybridized it all adding in the cosmic wildness, the powerful and beautiful animism of the local spiritualities of the Indonesian Islands, each with its own motifs and sacred patterns and celestial beings. He has synthesized and reinvented a Pan-Indonesian aesthetic by liberating it with that permission granted by art he has seen in books.
“I do not even clearly know the meaning of art brut/outsider, or even contemporary art. I have just kept to my drawing task and the money goes to my wife and child. I follow my feelings. Randall, am not even proud of what I have accomplished or listen to what other people say, this is not a surprise in my life, it is my normal everyday. Some people call me art brut, another outsider, and some say I am contemporary, it hardly matters to me. The important thing is my commitment to draw and deliver the message, to try and make this spiritual message more understandable.”
Angkasapura tries to make a drawing a day. It isn’t about the finished drawing, it is about fulfilling the mandate of his vision, received in 2001 from a dreamlike otherworldly presence. He draws to live. So the work, or the process really, is never completed.
For Angkasapura the act of making marks on whatever materials he finds are a form of repetitive prayer. The spirit who visited him gave him a phrase that has within its meaning “peace” and patience”. The knowledge that he is drawing to satisfy the calling of this spirit he encountered is more important to him than the finished drawing itself. It is the act of self-manifestation that fulfills his mandate of art making.
He began to seriously draw in 2001. He had always drawn but he began to take it really seriously when he had a visitation from a spirit-like being who gave him a phrase/name which one can often find written into the Drawings: KI RADEN SASTRO INGGIL. To Angkasapura this visitation was a moral wake-up call. The spirit gave him a blueprint of ethical living and balance; things like honesty and patience, “up to 45 points” the artist has told me. The presence of this spirit is always with him when he draws, and again points to his body of work as a process of achieving a moral balance in a difficult world. The act of drawing is a meditation and fulfillment of the spirits words while Angkasapura himself is merely a conduit for the messages; he is the mediator between us and the spirit, he does not have to explain them.
The figures in his drawings are encounters with internal and external forces. His beings are fanged and clawed. They are spawned by but not orthodox to local imagery. They move singly or in tandem with others, their internal organs often worn on the outside, again the play of internal and external forces exposed. Their bodies appear aggressive and dangerous but never really threatening which gives them the qualities of amulets. Fierce images drive away much fiercer forces.
“Although the characters seem different or repeated there is one thing that can never be lost, there are always flowing lines and fibers and spines (lines and filamentous forms always form in my head like tangles). At higher levels when I start drawing I have only one story. It will be split into many stories at the beginning as I draw so there are then a lot of stories here, the images will be irregular, there are a lot of symbols, yes there are a lot of stories here, in the world. Everyone will see it. That's why I do not have titles every time I finish a picture. (I have a secret. I never project anything when drawing, except a little splash of flavor. This is the spirit’s meaning of “honest” and “patience”…they are the source and the destination end of my journey, which becomes the message, in each drawing).”
The calligraphy also affirms the process as the ultimate satisfaction of art making for him. He is thinking right onto the paper. It gives each drawing a sense of immediacy.
We can universally relate to these drawings in the West because they are not traditional Asian images. They are idiosyncratic even if some of the imagery (rows of dancers, demons, spirits, women, animals, long fingerand toe-nails) is seemingly local. They are elaborated upon obsessively. When looking at an Angkasapura drawing the eye moves constantly. It is musical, there is a heavenly rhythm and at the same time a street beat, a 21st Century beat in the timeless forms.
2016 Maverick, Cavin-Morris Gallery, New York, NY Outsider Art Fair NY, represented by Cavin-Morris Gallery, New York, NY
2015 18th Colony of Naive and Marginal Art, Cvijeta Zuzoric Art Pavilion, Belgrade Rhizome: New Growth at Cavin-Morris Gallery, Cavin-Morris Gallery, New York, NY dRAW, Intuit: The Center for Intuitive and Outsider Art, Chicago, IL Outsider Art Fair NY, represented by Cavin-Morris Gallery, New York, NY In Dreams Begin Responsibilities: 30 Years at Cavin-Morris Gallery, Cavin-Morris Gallery, New York, NY
2014 Outsider Art Fair NY, represented by Cavin-Morris Gallery, New York, NY
Brave Art II, Galerie Jean Greset, Besançon, France
Freshet: Old Loves, New Directions, Cavin-Morris Gallery, New York, NY
NYC Metro Show, represented by Cavin-Morris Gallery, New York, NY
Outsider Art Fair Paris, represented by Cavin-Morris Gallery, Paris, France
Outsider Art, Galerie ArtMenParis, Paris, France
Outsider Art from Indonesia, Callan Park Gallery, Sydney College of the Arts, Sydney, Australia
Pot de clôture de l'exposition Outsider art, Galerie ArtMenParis, Paris, France
Expo, Museum of Arts Buissonniers, Saint-Sever-du-Moustier, France
2013 Outsider Art Fair Paris, represented by Cavin-Morris Gallery, Paris, France