View the DEADLINE DRAMA catalogue here.
Merch SOLD OUT
Opening reception: 22 July 2017, 4PM - 8PM
On display: 22 July - 8 Sept 2017
Artist Talk: 29th July 2017, 4pm-7pm
Venue: World's End Gallery
Surapati Core blok J-23 Jl. PHH Mustafa No.39
Since I was a child, I have been interested in the world of illustration, and drawing has always been a medium in which I chose to express myself. One of my biggest inspirations was comic books, which made me want to learn how to draw.
Growing up, my family moved around a lot so I wasn’t able to make a consistent group of friends. Every time I enrolled into a new school I had to make new friends. For a shy child like me drawing became a form of escape. This childhood hobby of doodlings comic characters and scenes has since become a passion in my work as an illustrator.
Today, while working on commercial projects, I have cultivated the ritual of taking the time to make my own personal works. This practice allows me the freedom to express myself between jobs. I create personal work to destress and relieve the boredom of mundane commercial work. And remind me why I love being an illustrator.
My inspiration for personal artwork are my moods, songs, photos, and scenery. I feel a rush of excitement when I start to create a new work; from developing the concept, determining my work atmosphere, choosing colour palettes, planning layout, the final result gives me the motivation to keep growing and learning.
People often forget that as a full time artist having a steady income is a luxury. Often our work is undervalued and underappreciated. So this ritual slowly evolved to become a form of catharsis of what I have to go through to get my bread and butter, as well as explores my mindset and conditions that I feel during my “job”, this is what gave birth to the series “Deadline Drama”.
The theme for this exhibition is personal to me because, in daily life, small occurrences become more concrete and interesting when we pour them into a visual form. “Deadline Drama” series for me is like opening an important path of my illustration career, where self expression, exploring, and experiences all meet in one line.
In the early part of the Middle Ages, there was a distribution of work assignments between a scrittori and an illustrator in the making of an illuminated manuscript.
A scrittori was in charge of writing, design and preparing lettering or calligraphy of the text in a book or manuscript. Meanwhile, an illustrator was responsible for producing ornaments and images that explain and flourishes the text. The work distribution or splitting then initiates and emphasize illustration terms to always be functionally dimensional. During this Medieval Period, image (illustration) was a subordination of text, to just give a decorative touch in the text sheets.
The pinnacle of change for illustration functionality started to happen in the 19th Century in France marked by Livre de Peintre (Painter's Book). Illustration was not only a part or a complement to a book, but more prevalent. The books were designed by artists and produced in limited quantities. Another quite influential book was ‘Parallèlement’ written by poet Paul Verlaine contained the works of artist Pierre Bonnard. Other artists who produced books were Henry Matisse, Marc Chagall and Pablo Picasso.
The independence of the illustrations was then reinforced by visual journalism by artists who worked directly in the battlefield to capture on the spot action through sketches.
Elfandiary is a full time illustrator from Bandung, Indonesia. He started drawing by doing the ‘mimesis’ of comic book characters since grade school.
Now, with over 10 years of experience in the industry, Elfan knows he must be consistent with his work as an illustrator. He realizes that he must consider many aspects to meet the needs of his various clientele.
Elfan creates visuals usually based on the narrative texts. In most of his personal sketches, he images women as the centre of his work. The response to urban life with the equivalent and storytelling of female subjects has become the tendency of Elfan’s illustrative work. He also makes visuals from his favorite music, on a few occasions, his work was made into album covers.
The intersection with music and his day to day is his inspiration for illustration. This is the type of work that introduces us to “Deadline Drama”, situations where Elfan is at a deadlock with his work and the pressure forces him to find an alternative method in order to progress.
“Deadline Drama” is very personal series from Elfan. As a full-time artist, Elfan knows that the more time he spends on an artwork the more valuable it becomes, a value that most artists can relate to, is unquantifiable.
Elfan makes professionalism a priority in his line, but sometimes this contrasts with the dynamics of art industries in Indonesia. As something that happens more often than not, the underappreciation among clients is one of the most problematic attitudes when it comes to this profession, that’s where the term of “Deadline Drama” stemmed from. Their sentiment forced Elfan to develop approaches to appreciate his own work.
The artwork in this exhibition is a subjective interpretation reflective of Elfan’s creative process within the daily life of an illustrator.
In this exhibition, Elfan tries to interpret different art mediums. He will not only use two dimensional artwork but will also make an installation and three dimensional figures. One corner of his exhibition will be a museum like display of a collection of his basic ideas on ‘Deadline Drama’. Until the end of his preparation process, Elfan still has concerns on how to express his ideas, that’s why he feels needs to redraw his past artworks to become the new one for this series.
Through this exhibition, Elfan hopes that the audience will see more of his personal identity and character, which is an integral part of his profession. From this perspective, Elfan invites every audience member who attends ‘Deadline Drama’ to comprehend him deeper, as an individual and also as an illustrator.