ASMR

ID

JP

Fiametta Gabriela

Kanoko Takaya

KR

Heewon Oh

Catalogue for ASMR An Online Group Exhibition

by Kanoko Takaya, Heewon Oh & Fiametta Gabriela 10.09.20 - 10.10.20 @ dgalleriejakarta.com

Curated by Chabib Duta Hapsoro English translation by Michelle Sutanto Artwork photography by Muhammad Feno Published by D Gallerie, Jakarta, Indonesia September 2020 Catalogue designed by Kotasis 333 Surabaya, Indonesia www.kotasis.com

DIGITAL EDITION

C u r ato r i a l N ot e s o n A S M R b y F i a m e t ta

G a b r i e l a , H e e w o n Oh & K a n o ko Ta k aya

T h e I nfluence of

S e ns ory S e nsation s o n Arti stic P ractice As a discipline, sensory studies involve approaching culture to comprehend the application of the senses. This study seeks to expand the boundaries that have been determined by the study of psychology regarding sensory perception by means of inquiry in a range of other disciplines such as humanities, natural and social sciences.

Think of this study as savoring how good or bad the taste of the food we consume is. Apart from tasting salty, sweet, sour, or

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bitterness, food enjoyment involves a cultural process. For a specific group of people, the bitter taste does not automatically mean the food tastes terrible. The cooking or food preparation procedure also involves negotiations with a particular community’s social situation, which later determines which cuisine deserves to be ...responding to classified as good or bad.

“ stimulus is not only needed when one is cooking, but it also applies to artmaking.�

In this way, I assume that creativity requires going through a process of stimulating the senses, beyond the limit of sociocultural negotiations. In this case, responding to stimulus is not only needed when one is cooking, but it also applies to artmaking.

In the artistic process, we can associate sensory studies with the process of how humans and artists

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perceive color. This specific field that specializes in the study of color is called color psychology. It is proven that there is a psychological effect when it comes to seeing particular colors. When we see the sea’s blue color, it makes us reminisce when our hands touch the fresh, cold water. Therefore, our brain associates the color blue with the feeling of cold and fresh.

However, our understanding of the color blue being related to the word “cool” is relative.

Moreover, perceiving a color or reality does not utilize only one sense. Perceiving reality involving the use of all the senses offers the complete experience, although it is relative.

This exhibition sets forth the belief that within the artmaking process, especially evident in certain works, the artist’s perception of natural phenomena and socio-cultural experiences involves using the five senses, not limited to sight.

Hence, we then begin to understand that beyond the “mainstream” sense of sight, hearing, smelling, and touching can also stimulate how one perceives phenomena and sensations, which

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are then processed by the brain. In this case, I believe that impressionist painters have an extra sense of sensitivity-beyond sight-that turns their encounters with nature into masterpieces.

I believe that lyricism inspired paintings also require artists to undergo the full sensory experience. The vibrations or exhilaration that we feel when looking at a lyrical abstract painting invites us into looking at the work in the artist’s shoes, understanding the feeling of awe the artist has felt as they experience nature.

When considering a painter’s creative process, based on their mastery, they can create an atmosphere using material’s concrete attributes, far from atmospheric: arranging paint or other materials to create forms, colors, and compositions that portray a particular atmosphere, reminiscent of our feelings.

ASMR intends to illustrate the sensory sensation and how it influences three women artists’ artistic practices. Although it is still debatable when it comes to the five senses, contemporary art inevitably emphasizes the visual aspects, 8

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compared to the other four senses.

Countless contemporary artists respond to visual phenomena that are currently becoming increasingly popular as mediated by the media.

This exhibition reveals that some artists could express enthusiasm towards day-to-day weather phenomena, visual phenomena loaded with colors, and a variety of tangible textures. Their enthusiasm gives them the energy for more intimate and delicate exploration of the medium and material, to find distinctive visual qualities: giving a strange yet intimate quality to the subject of temperature and humidity; how color and composition represents a particular psychological condition; and how certain tactile elements can arouse unexpected

“This exhibition reveals that some artists could express enthusiasm towards day-to-day weather phenomena, visual phenomena loaded with colors, and a variety of tangible textures.�

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imaginations, which are at times sensitive to particular cultural contexts.

Heewon Oh is a South Korean contemporary artist with a distinct sensitivity when it comes to documenting and reflecting on natural events, particularly the weather cycle. As she gets more passionate “Heewon revealed about her work, Heewon found common ground and correlation that the natural between her painting practice phenomena she and the weather cycle. The saw were nothing most notable evidence of this is out of the ordinary, her consistent use of rainbow colors in her works, suggesting but more towards a visual phenomenon her daily encounter experienced by humans as the with the weather.” weather changes.

Heewon revealed that the natural phenomena she saw were nothing out of the ordinary, but more towards her daily encounter with the weather. For example, she has a habit of staring through her window, looking at what is going on outside. Heewon’s focus is then interrupted by trivial things such as dewdrops 10

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and raindrops, refracting and making a rainbow projection. She sees the rainbow as a part of the weather cycle, which involves changes in various substances and their consistency.

Her memory of that occurrence left a strong impression on her, naturally and conceptually, which became a part of her painting practice. Her artwork is a record of physics and biology-related events portrayed through her use of painting materials, such as changes of substances in midair, gravity, and other unpredictable possibilities.

Although she states that an artist is someone who masters the art of handling materials, Heewon aims for her painting process to be as natural as possible. Therefore, she prefers laying the canvas on the floor instead of resting it against the wall.

She often contemplates the changes in forms and properties of matter or entities within the weather cycle process. Based on the changes, she then makes perceptions through her senses. By doing so, she pays attention to the unseen.

Fiametta Gabriela, also known as Gaby, is an Indonesian contemporary artist who works

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across multiple mediums following her intuitive behavior. It can be said that her specialty is in abstract painting. Gaby uses art as a medium for her to express her pent up emotions to maintain her mental well-being as she goes through her daily life as a woman, a mother, a graphic designer, and an artist.

Gaby began working on her pieces for this exhibition as the Covid-19 pandemic impacted her life significantly. She finds that the space she lives in, whether physical or imaginary, becomes claustrophobic and suffocating.

She then took a different approach in her artmaking. She begins by creating patterns and leaving negative spaces between them, which at the beginning, she finds a sense of relief from doing so. From there, her intuition and reflexes began to move towards the empty fields. The negative spaces mark the presence of windows, doors, or roads representing the light at the end of the long, dark tunnel. Gaby’s use of space leaves a strong impression as the outlines interrupting stiffly and the firm yet elegant

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In the context of sensory experience, Gaby very well understands the importance of space and how humans need their space.

Being in a narrow space limits her ability to see what is around her, which stagnates her creative process and affects her daily activities. Not only does the limitation of space affect her sense of sight, but it also stifles her mind.

“In the context of sensory experience, Gaby very well understands the importance of space and how humans need their space.”

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strokes made by acrylic paint, charcoal, and pencil occasionally look biomorphic.

We can relate to the portrayed psychological atmosphere as we look through Gaby’s choice of colors and fields’ composition. The texture of the atmosphere also stimulates tactility, which indicates a gloomy feeling.

Kanoko Takaya is a Japanese contemporary artist who truly admires the Indonesian culture and lifestyle, which is very 13

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rich in colors. Since she decided to move to Indonesia and called it her second-home, Kanoko has made her daily life in Indonesia a source of inspiration within her practice.

She believes that the Indonesian culture has “Kanoko’s goal is cultural products that are for the audience rich and diverse in surface to feel her work’s texture and, at the same time, very expressive. texture without having to touch it We can trace Kanoko’s fascination with Indonesian directly.” artisanal handmade crafts, especially Topeng (masks).

In some instances, we will see a significant resemblance between Kanoko’s style with the handmade crafts. She often works with textiles, embroidery, and wood carving. We can see that all three techniques offer a wide range of possibilities for surface quality exploration.

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For this exhibition, Kanoko’s goal is for the audience to feel her work’s texture without having to touch it directly. The various sensations within her body of work, in some respects, are quite sensitive to particular cultural contexts. Kanoko based her work on the general concept of primitive emotions: the desires and feelings that arise due to humans’ origins before experiencing the culture.

Because of the advancing civilization, society generates norms and culture, which calls for tabooing or establishing absolute values.

This time, Kanoko’s is more direct in displaying textures that suggest women’s genitalia and address reproduction. Through her works, she intends to criticize the patriarchal cultural norm that has robbed women of their freedom of speech and self-acceptance.

ASMR (Autonomous Sensory Meridian Response) signifies the pleasant yet satisfying experience driven by auditory and visual sensations facilitated by the media. The exhibition’s title is pretty much a satire intended to address contemporary people who tend to be dependent on content presented through technology in providing a sensation

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that “feels real.” The artworks by Fiametta Gabriela, KanokoTakaya, and Heewon Oh shows that humans, as part of nature, are still longing for tangible and real experiences when it comes to fully grasping nature and everything surrounding it.

Being able to absorb phenomena using the five senses is necessary for the survival of human beings. Perceiving reality by using the five senses increases one’s chance of understanding reality as a whole, leading to wiser decision making. It is evident that the perception of reality through sight, mediated by screens and media, is often misleading.

Chabib Duta Hapsoro Exhibition curator

Somatic Cell synthetic leather stuffed with dacron various dimensions - 2020 16

K anoko Takaya

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K anoko Takaya

Chromosome synthetic leather, dacron 70 x 64 cm - 2020

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Cellular Tissue synthetic leather stuffed with dacron 93 x 64 cm - 2020

K anoko Takaya

Somatic 01 synthetic leather stuffed with dacron 117 x 82 cm - 2020

Somatic 02 synthetic leather stuffed with dacron 136 x 79 cm - 2020

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K anoko Takaya

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Pigment Concentration acrylic on wood variable dimensions - 2020

K anoko Takaya

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K anoko Takaya

Magnification #1 acrylic on canvas 88 x 69 cm - 2020 22

K anoko Takaya

Magnification #2 acrylic on canvas 88 x 69 cm - 2020 23

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K anoko Takaya

Production Manual Embroidery 98 x 56 cm - 2020

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Bor n in Kyoto, Jp, 1991

L ives and works in Bali, Id

Kanoko Takaya 髙屋​ 佳乃子

K anoko Takaya

When Kanoko was a child, she often went on trips to Bali alongside her mother, and there she was first introduced to Indonesia’s diverse culture. Growing up surrounded by Indonesian folk art and Batik, she developed a love for the Indonesian culture. After graduating from Kyoto Seika, majoring in Visual Design, Kanoko was longing to return to Indonesia. She eventually returned to Indonesia in 2014, where she continued her studies at Indonesia University of the Arts (ISI), Surakarta (Solo), Central Java.

During her two years residing in Solo, Kanoko further explored traditional Indonesian culture in depth – particularly fascinated by Indonesian Masks (Topeng) such as the “Bobung” mask in Yogyakarta (Central Java) and the mask of Malang (East Java).

Indonesian masks draw her attention because of their variety of expressions, which she feels perfectly represents the nature of Indonesians– very open and expressive, differing from Japanese masks, which show detailed but limited expressions. Her fascination with Indonesian folk art and traditional masks are reflected through the motifs of her artworks. Kanoko creates

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K anoko Takaya

artwork using various techniques and mediums such as acrylic plates, illustrations on canvas, paper, and fabric, antique decoration, and other three-dimensional formats. Often portraying natural iconography, her designs are a combination of Indonesian culture and what she feels or sees. In her third year in Indonesia, Kanoko moved to Bali and became an in-house artist for the apparel shop Pithecanthropus Bali, establishing her brand, Kanokon, until late 2019.

SOLO EXHIBITION 2017 Primitive Emotion, Studio Eksotika, Bali, Indonesia 2014 Luckey Indonesia, H2O Gallery, Kyoto, Japan GROUP EXHIBITIONS 2020 Equidistant / Kohesi, Yogyakarta, Indonesia 2019 Artstartup100, Daikanyama Hill Side Terrace F Building, Tokyo, Japan

Pluralism / Soup n Film, Jakarta, Indonesia

Main-Main with Kentaro Okawara, Rumah23, Bali, Indonesia

Sorry No Guestlist, Anagra Garrery, Tokyo, Japan

23 Count Down Project, Villa Rumah Dua Tiga, Bali, Indonesia

Art Jakarta Merchandise Project, Jakarta, Indonesia

Seed Of Memory, Langgeng Art Foundation, Yogyakarta, Indonesia

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Art Jog 9 Merchandise Project, Yogyakarta, Indonesia

Bare Journal, Artist in residence and group exhibition, Cataodata, Bali, Indonesia

K anoko Takaya

2016 IMF Ubud International Festival, ARMA Museum, Bali, Indonesia

Masks, Diesel Art Gallery, Tokyo, Japan

Abandoned Treasure, House Bay Gallery, Yogyakarta, Indonesia

Gara-Gara Motif, ASP Gallery, Yogyakarta, Indonesia

Merchandise Project ー Zushi Beach Film Festival, Zushi Beach, Zushi, Japan

Macam-Macam Kanoko Takaya and Sigit Pamungkas, H2O Gallery, Kyoto, Japan

2015 Surprise #9, Taman Budaya Jawa Tengah, Solo, Indonesia

Gunungan International Mask & Puppets Festival, Kota Baru Parahyangan, Bandung, Indonesia

ARTch！持ち腐れと、誰が言った。展 , Tukuru Buil, Kyoto, Japan

2013 Creation 7 Kyoto Seika University, Antenna Media, Kyoto, Japan

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H ee w on O h

Dew Shadow (Light Phthalo Green Dust ) acrylic and iridescent medium on silver paint canvas 97 x 97 cm - 2019

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H ee w on O h

Dew Shadow (Mars Pale Dust ) acrylic and iridescent medium on silver paint canvas 97 x 97 cm - 2019

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H ee w on O h

Dew Shadow (Spectrum BVMB) acrylic and iridescent medium on silver paint canvas 97 x 97 cm - 2019

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H ee w on O h

Dew Shadow (Spectrum LGPO) acrylic and iridescent medium on silver paint canvas 97 x 97 cm - 2019

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Born in Seoul , KR , 1986

L ives and works in Seou l , K R

Heewon Oh

H ee w on O h

Heewon Oh extensively explores the stereoscopic world through her paintings. Her works began by capturing the correlation between the material world, including the different elements and natural conditions of the world, with time. Inspired by the notion that a clear memory accompanies a space and time is imprinted through space, she then creates a narrative of time and simultaneously constructs an environment that visualizes time.

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H ee w on O h

SOLO EXHIBITIONS 2019 Iridescent Fog, One Four, Seoul, South Korea 2017 Parallel Grounds, Chapter II, Seoul, South Korea 2014 White Void—Void’ reaction, Gallery Factory, Seoul, South Korea DUET EXHIBITIONS 2019 EVER—CHANGING, One Four, Seoul, South Korea 2016 Polar Night, R3028, Seoul, South Korea SELECTED GROUP EXHIBITIONS 2020 Click Scroll Zoom (upcoming Web exhibition) 2019 THE SCRAP—HAPPY TOGETHER, 24 Wangsanro-9-gil, Seoul, South Korea

EVER—CHANGING, One Four, Seoul, South Korea

2018 VIEWERs, Boan1942, Seoul, South Korea

PACK2018, Space413, Seoul, South Korea

How Many Steps, Geumchon Art Factory, Seoul, South Korea

THE SCRAP, Culture Station Seoul 284, Seoul, South Korea

Amusement of City—Wandering, 021Gallery, Daegu, South Korea

2017 8 Works, Collections of the Artists, Audio Visual Pavilion, Seoul, South Korea

LOTUS LAND, Asia Culture Center, Gwangju, South Korea

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South Korea

H ee w on O h

2016 After & Before, SeoulTech Museum of Art, Seoul, Polar Night, R3028, Seoul, Korea

2015 BETA ABSTRACT, No Toilet, Seoul, South Korea

GOODS 2015, Sejong Center, Seoul, South Korea

2014 Today’s Salon, Common Center, Seoul, South Korea 2013 99c+1, Seoul Art Space Seogyo, Seoul, South Korea 2012 Project 72-1, Former-Hongik Attached Elementary School, Seoul, South Korea

Crab Walk: We are left, We are right, Space CAN, Seoul, South Korea

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F ia m etta G ab r iela

Melantai (On The Ground) acrylic, spray paint, pastel, colour pencil on canvas 250 x 157 cm - 2020

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F ia m etta G ab r iela

Campur Sari acrylic, spray paint, pastel, colour pencil on canvas 156 x 146 cm - 2020

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F ia m etta G ab r iela

Pintu, Jendela Ke Mana Saja (Door, Window Everywhere You want to Go) acrylic, spray paint, pastel, charcoal on canvas 100 x 100 cm 2020

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F ia m etta G ab r iela

Atap Memeluk Hangat (The Roof Hugged Warmly) acrylic, spray paint, pastel, pencil on paper 76 x 56 cm 2020

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F ia m etta G ab r iela

Limpah Ruah (Overflow) acrylic, spray paint, pastel, pencil on paper 76 x 56 cm - 2020 42

F ia m etta G ab r iela

Baik, Pondasimu Sedalam Itu (Ok, Your Foundation Is Deep Enough) acrylic, spray paint, pastel, pencil on paper 76 x 56 cm - 2020 43

F ia m etta G ab r iela

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Tegel Series 1 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 2 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 5 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 6 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

F ia m etta G ab r iela

Tegel Series 3 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 4 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 7 acrylic, pastel, pencil on paper 24 x 17 cm - 2020

Tegel Series 8 acrylic, pastel, pencil on paper 24 x 17 cm - 2020 45

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L ives and works in J akarta , ID

Fiametta Gabriela

Born in J akarta , ID, 1988

F ia m etta G ab r iela

Fiametta Gabriela is an artist based in Jakarta, Indonesia. She graduated from Nanyang Academy of Fine Arts, Singapore, with a Diploma in Visual Communication. She once worked as a graphic designer at an advertising company, an art instructor, and currently a full-time artist, freelance graphic designer, and housewife.

Gaby is an interdisciplinary artist who works on a variety of mediums, including painting, drawing, installations, videos, and performance. Her work is embedded in her daily life, meaning it touches upon mundane subjects. Inspired by everyday objects/ materials, she discovers the absurdity, negligence, resistance, remedy, and dialogue between humankind, their surroundings, and themselves. Relationships are made through conversations, whether it is approval, rejection, or just pure nonsense. Dealing with the order and disorder, which is based on the thought and intuition of a particular theme/object, has become one of the main aspects of Gaby’s working process.

The pushing and pulling of gestures, patterns, and language which develops into its distinct character.

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F ia m etta G ab r iela

SOLO EXHIBITIONS 2018 Setengah Isi, Setengah Kosong, Galeri Kertas, Depok

Mother as an Image, Lir Space, Yogyakarta

2014 Ladang di Bawah Kelupasan, Artotel, Jakarta Ladang di Bawah Kelupasan, Selasar Sunaryo Art Space, Bandung GROUP EXHIBITIONS 2018 XYZ Art Unlimited, Gedung Gas Negara, Bandung

Lintas Media Tata Bahasa, Pasca Kebenaran, Dewan Kesenian Jakarta, Teater Kecil Jakarta

2017 Artstage Jakarta 2017, Rachel Gallery, Jakarta

Colour of the Year, Club Bimasena, Jakarta

Living with Art, Ambiente, Jakarta

2016 Bodies of Land Surrounded by Water, exi(s)t #5, Dialogue Artspace, Jakarta 2013 Restart, ICAD 2013, Grand Kemang Hotel, Jakarta

Kopi Keliling Vol.7, Kedai Kebun Forum, Yogyakarta

2011 Eksposisi, Koi Kemang Gallery, Jakarta COLLABORATIONS 2018 Artistic collaborator, Tubuka, Laring Project by Gema Swaratyagita, Bentara Budaya Jakarta 2016 Visual and textile designer, Charming Lass Club with Ansy Savitri

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Jl. Barito I No.3, Kebayoran Baru Jakarta 12130, +62 21 739 9378 dgalleriejakarta@gmail.com dgalleriejakarta.com