TUYULOVEME
TUYULOVEME - NALURI
D GAL L E R IE JA KA RTA , 0 8/20 22
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T EXT BY ZARANI RIS JAD PHOTOS BY K E MAL Y US U F
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Tuyuloveme is a prominent Indonesian graffiti artist based in Jogjakarta with a 16 year-long practice that ranges from lettering to street art. He is an advocate of graffiti as an artistic discipline and has participated in numerous events and exhibitions in Indonesia, Australia, Singapore, Thailand, Cambodia, Russia, Philippines and the United States. The name Tuyuloveme is a playful twist on the question, “Do you love me?” It is also a reference to the tuyul, a mythological boy that is popular in South East Asian folklore. What characterises the tuyul varies across cultures but the underlying trait that is commonly shared is his playfulness and propensity to misbehave. In almost every one of Tuyuloveme’s artwork, he appears cheeky and mischievous yet shy, never showing his face. It is reminiscent of the graffiti artist who maintains his anonymity by keeping out of the public eye despite such high-visibility work.
A S OLO E XHIB IT ION BY T U Y U LOV E ME
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Tuyuloveme’s use of the tuyul has evolved over the years, initially appearing as a brazen figure with a beanie, bandana mask and spray can in hand to more recently, appearing only as a pair of eyes that peek through the artist’s brush strokes. The reduction of the tuyul to a pair of eyes signifies an evolution in Tuyuloveme’s studio practice. New work developed in the studio are increasingly abstract and less figurative. Graphic elements are stripped down yet refined with details such as gradient, pattern, layering and texture. These intricacies indicate a careful and deliberate preparation that departs from his art in the street which is spontaneous in creation and fleeting in nature.
In his latest exhibition Naluri (meaning ‘instinct’ in Bahasa Indonesia), Tuyuloveme uses his past graffiti writing experience to recreate an immersive world for the audience to explore and momentarily embody the instinct of a graffiti writer in relationship with his playing field that is the city. This reimagined landscape is a new visual language of the artist who assembles rusted and decrepit objects scavenged from the junkyard and embellishes them with dynamic paintings to reflect the way in which street art intersects with elements found in the urban environment.
featured in Tuyuloveme’s works represent the city’s gleaming virgin surfaces that beg for his creative attention. ‘Random Encounters’ are a series of oddly shaped canvas artworks which highlight the challenge of putting up pieces in unpredictable less than ideal spaces. According to Tuyuloveme, graffiti is an organised and well-thought out activity. Once a location is targeted, what usually follows is a repertoire of solutions to logistical challenges involved in putting up the artwork. No amount of challenges can get in the way of finding the perfect space. A vital concept in graffiti, pride of place is further represented in ‘Getting Up’: a wall mount-
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The installation ‘Fear and Love’ invites the audience to walk over
a bed of gravel and get up close to a pair of large compositions comprised of corrugated steel, concrete slabs, rolling metal shutters, chain link fences and Javanese teak shutters that are marked with iridescent hues and propped by sections of a railway track. It alludes to an experience of trespassing on a train depot. Trespassing is central to the practice of graffiti that requires an instinct that Tuyuloveme has refined and skills of stealth and cunning he has honed. As a graffiti writer, he perceives the urban environment in a different manner, scanning for potential locations to be embellished. This process is known as the ‘writer’s gaze’1. The aerosol stars that are frequently
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ed composition that joins rusted metal with polished cement, then painted over with Tuyuloveme’s colourful artwork. A scavenged ladder mounted on top finishes the piece to symbolise the act of climbing a ladder and holding on while painting with one’s other hand. The title references the graffiti term ‘get up’ in which a graffiti writer gains respect by painting an elaborate piece in a difficult location. The centerpiece of Naluri is the ‘Dance of Joy,’ a stand-alone sculpture depicting a section of graffiti-emblazoned wall, surrounded by a twisted and gnarled chain link fence on which a ‘private property’ plaque is mounted. The ‘Dance of Joy’ refers to the action of squeezing into tight spaces, ducking into holes in walls or fences and other similar movements needed to enter a space illegally. ‘Piece by Piece’ is a pair of sculptures that are an assemblage of scrapped parts i.e. corners of stainless steel exhaust pipes, truck ladders, grill guards and steel reinforcing rods inserted in concrete fragments, the latter embellished with the iridescent aerosol hues of Tuyuloveme’s artwork. They form a sophisticated and elegant composition highlighting the unexpected beauty that can be found even in a derelict urban landscape.
Naluri is a window into what is usually an obscured view of the experience of graffiti: the pride, the pleasure and the effort involved in completing a piece. There is also a sense of the powerful visceral experience that occurs upon seeing the word or image take shape, further charged by the illicit nature of the activity. Graffiti is a paradox. It is both an aesthetic practice as well as a criminal activity. Nevertheless, the artist celebrates its cultural value and advocates its visual merit. But what is the motivation of the graffiti writer and why is the phenomenon celebrated? Tuyuloveme suggests that graffiti gives the
writer a sense of pleasure, a result of the writer’s strong connection to the city. This connection is described by criminology researchers Halsey and Young: In the act of writing—that is, by using the aerosol can and the felt tip marker as key prosthetics for connecting ‘self’ and ‘world’ (but also as a means of collapsing such distinctions)—graffiti writers connect themselves to all the possible reactions the city can muster with respect to a particular image or set of images produced over time. (Halsey & Young, 2006, p. 278)
“NALURI IS A WINDOW INTO WHAT IS USUALLY AN OBSCURED VIEW OF THE EXPERIENCE OF GRAFFITI: THE PRIDE, THE PLEASURE AND THE EFFORT INVOLVED IN COMPLETING A PIECE.”
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around the world, learning from various artists, employing diverse techniques and drawing from different cultures. It is a process that he likens to artist residencies. Tuyuloveme is not only inspired by the streets, but also ‘lives and breathes’ them through his creative practice. It was crucial for Tuyuloveme to be able to exhibit his works in a gallery without losing the essential aspects of his practice. The challenge of Naluri was to reach a different audience but not completely decontextualise the
artwork. When the idea of this exhibition arose, the vital question for the artist was – how can he present his street art in a gallery space without losing the ethos of his practice? Naluri is both a tribute to and a rumination of ‘street’: as a place, a genre, and an aesthetic. By using the visual language of the street, the audience is invited to witness the unexpected beauty in urban decay and the street artist paying tribute to the textures that unfold within the landscape. The use of canvas or its display in a
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This connection extends beyond the city’s landscape to its in habitants who derive a sense of pleasure from the chance en counter of artworks in urban public spaces2. For the graffiti writer, this reciprocity forges a sense of belonging – to other people and places. Tuyuloveme explains that his career has been nourished and influenced by travelling and collaborating with other artists. Graffiti has given him a sense of belonging, one that transcends country, language and culture. Naluri is a culmination of eight years of Tuyuloveme’s travels
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“NALURI IS BOTH A TRIBUTE TO AND A RUMINATION OF ‘STREET’: AS A PLACE, A GENRE, AND AN AESTHETIC.”
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gallery should not disqualify an artwork from being deemed street art. In Naluri, we are still able to recognise its ‘streetness’. Thus, ‘street’ is both a genre and an aesthetic. For Tuyuloveme, this exhibition is a way to express his passion for this multi-faceted subculture.
The most important aspect of this exhibition, he maintains, is its impact. The artist looks forward to starting a dialogue between street artists and contemporary art practitioners. He is hopeful that it will initiate important debate around street art and challenge entrenched notions of what art is.
__________________ 1) Halsey M & Young A (2006) ‘Our desires are ungovernable’: Writing graffiti in urban space. Theoretical Criminology, 10 (3) 278289. DOI: 10.1177/1362480606065908 2) Bowen T (2013), ‘Graffiti as Spatializing Practice and Performance, Rhizomes, 25, http://www.rhizomes.net/issue25/bowen/ index.html
PAME R AN T U NGGA L OL E H T U Y U LOV E ME
NALURI TEKS ASLI Z A RAN I R I SJAD DITER J EMAHKAN OLEH N I N US ANDARNUSWARI F OTO OLEH KEM AL YUSU F
Tuyuloveme adalah seniman graffiti Indonesia terkemuka yang berbasis di Yogyakarta. Praktik seninya telah berjalan selama 16 tahun dan berkisar dari lettering hingga seni jalanan. Ia pendukung graffiti sebagai disiplin seni dan telah berpartisipasi dalam berbagai acara dan pameran di Indonesia, Australia, Singapura, Thailand, Kamboja, Rusia, Filipina, dan Amerika Serikat.
Penggunaan kata tuyul oleh Tuyuloveme telah bergeser selama bertahun-tahun, dari awalnya muncul sebagai sosok yang menantang, dengan topi beanie, topeng bandana, dan kaleng semprot di tangan, hing ga belakangan ini muncul hanya sebagai sepasang mata yang mengintip melalui sapuan kuas artis. Reduksi tuyul menjadi sepasang mata menandakan evolusi dalam praktik studio Tuyuloveme. Karya baru yang dikembangkan di dalam studio semakin abstrak dan tidak terlalu figuratif. Elemen grafis dilucuti
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Nama Tuyuloveme adalah pelesetan main-main dari pertanyaan bahasa Inggris, “Do you love me?” Bunyi do you juga mengingatkan pada tuyul, bocah mitologis yang populer dalam cerita rakyat Asia Tenggara. Dalam berbagai budaya, apa yang mencirikan tuyul berbeda-beda tetapi sifat mendasar yang umumnya sama-sama dimiliki adalah watak main-main dan kecenderungan berperilaku nakal. Hampir dalam setiap karyanya, karakter tuyul tampak tengil dan nakal tapi malu-malu, tidak pernah menunjukkan wajahnya. Ini mengingatkan pada seniman graffiti yang mempertahankan
anonimitas, menjauhkan diri dari pandangan mata publik meskipun pekerjaannya sangat terlihat.
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“NALURI MEMANG JENDELA KE DALAM APA YANG MERUPAKAN PANDANGAN PADA PENGALAMAN GRAFFITI YANG SELAMA INI TIDAK TERLIHAT: KEBANGGAAN, KESENANGAN, DAN USAHA YANG DIBUTUHKAN DALAM MENYELESAIKAN SEBUAH KARYA.”
tetapi dipoles dengan detail se perti gradien, pola, layering, dan tekstur. Kerumitan ini menunjukkan persiapan yang matang dan cermat, yang menyimpang dari seninya di jalanan yang spontan dalam penciptaan dan bersifat tidak permanen.
rusak dan berkarat, yang diambil dari tempat barang rongsokan, dan menghiasinya dengan lukisan-lukisan dinamis untuk mencerminkan bagaimana seni jalanan bersinggungan dengan elemen-elemen yang ditemukan di lingkungan perkotaan.
Dalam pameran terbarunya “Naluri” Tuyuloveme menggunakan pe ngalaman menulis graffiti di masa lalu guna menciptakan kembali dunia di mana audiens dapat hanyut dalam penjelajahan dan sejenak mengalami naluri seorang penulis graffiti terkait medan bermainnya, yaitu kota. Lanskap yang dibayangkan kembali ini adalah bahasa visual baru sang seniman. Ia merakit benda-benda
Instalasi Fear and Love mengajak penonton untuk berjalan di atas hamparan kerikil dan melihat lebih dekat sepasang komposisi besar yang terdiri atas baja ber gelombang, pelat beton, pintu roll-up, pagar rantai, dan daun jendela jati Jawa, yang penuh rona warna-warni dan disangga oleh bagian-bagian rel kereta api. Karya ini secara tak langsung menyinggung pengalaman masuk
tanpa izin ke dalam depot kereta api. Masuk tanpa izin (tresspassing) sangat penting dalam praktik graffiti, hal ini membutuhkan naluri yang telah disempurnakan oleh Tuyuloveme, juga keterampilan bak siluman dan kelicinan yang terasah. Sebagai penulis graffiti, ia memandang lingkungan perkotaan dengan cara berbeda, memindai lokasi yang berpotensi dihias. Proses ini dikenal sebagai writer’s gaze, (‘tatapan penulis’).1 Bintangbintang yang sering ditampilkan dalam karya-karya Tuyuloveme mewakili permukaan kota yang masih “murni”, berkilauan seolah menarik-narik perhatian kreatifnya. Random Encounters adalah seri karya kanvas dalam bentuk ganjil,
ke dalam lubang di dinding atau pagar, dan gerakan serupa lainnya, yang diperlukan untuk memasuki suatu ruang tanpa izin. Piece by Piece adalah sepasang patung yang merupakan susunan dari barang-barang bekas, yaitu ujung pipa knalpot baja, tangga truk, rangka pelindung, dan pe nguat baja tulangan yang dima sukkan ke dalam pecahan-pecahan beton—yang dihiasi dengan aerosol warna-warni khas karya Tuyuloveme. Sepasang patung ini menjelma komposisi mutakhir nan elegan, mengangkat keindahan tak terduga yang dapat ditemukan bahkan di lanskap kota yang telantar. berwarna-warni. Sebuah tangga temuan yang dipasang di atas memungkasi karya itu, melambang kan tindakan memanjat tangga dan berpegangan sambil melukis dengan tangan yang lain. Judulnya merujuk pada istilah graffiti get up, di mana seorang penulis graffiti mendapatkan pengakuan dengan melukis karya rumit di lokasi sulit. Jantung karya dalam “Naluri” adalah Dance of Joy, sebuah pa tung tersendiri yang menggam barkan bagian dinding penuh graffiti, dikelilingi oleh pagar rantai kawat berlekuk-liku di mana plakat “private property” (“milik pribadi”) dipasang. Dance of Joy mengacu pada tindakan mengerutkan diri ke dalam ruang sempit, merunduk
“Naluri” memang jendela ke da lam apa yang merupakan pan dangan pada pengalaman graffiti yang selama ini tidak terlihat: kebanggaan, kesenangan, dan usaha yang dibutuhkan dalam menyelesaikan sebuah karya. Ada juga suatu perasaan pengalaman primitif kuat, yang berlangsung saat melihat kata atau gambar terbentuk, dan terlebih berisi bobot sifat terlarang dari aktivitas tersebut. Graffiti adalah sebuah paradoks. Graffiti adalah praktik estetika sekaligus aktivitas kriminal. Meski demikian, sang seniman merayakan nilai budayanya dan mengadvokasikan keunggulan visualnya. Tapi apa motivasi penulis graffiti
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yang menyoroti tantangan dalam menempatkan bagian-bagian karya pada ruang yang tak terlalu ideal dan tak terduga. Menurut Tuyuloveme, graffiti adalah kegia tan yang terorganisir dan dipikirkan matang-matang. Begitu lokasi ditargetkan, apa yang biasanya menyusul adalah daftar solusi untuk tantangan logistik yang di hadapi dalam penempatan karya. Segudang tantangan pun tak dapat menghalangi pencarian akan ruang yang sempurna. Sebuah konsep penting dalam graffiti, kebanggaan akan tempat, terwakili dalam Getting Up: sebuah komposisi yang dipajang di dinding, meng gabungkan logam karatan dengan semen poles, kemudian dicat dengan karya Tuyuloveme yang
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dan mengapa fenomena ini di rayakan? Tuyuloveme menya takan bahwa graffiti memberikan kesenangan bagi pelakunya, suatu hasil dari hubungan kuat sang seniman dengan kotanya. Hubungan ini digambarkan sebagai berikut oleh para peneliti kriminologi Halsey dan Young: Dalam tindakan menulis—yaitu, dengan menggunakan kaleng aerosol dan spidol felt tip se bagai prostetik utama guna menghubungkan “diri” dan “dunia” (tetapi juga sebagai sarana untuk meruntuhkan pembedaan tersebut)—penulis graffiti menghubungkan diri mereka dengan seluruh ke mungkinan reaksi yang dapat dibangkitkan oleh kota, sehu bungan dengan gambar atau rangkaian gambar tertentu yang dihasilkan dari waktu ke waktu. (Halsey & Young, 2006, hlm. 278) Hubungan ini melampaui lanskap kota dan menjangkau penghuninya, yang memperoleh rasa senang berkat pertemuan acak dengan karya seni di ruang publik kota.2 Bagi penulis graffiti, timbal-balik ini menempa suatu perasaan memiliki—terhadap orang dan tempat lain. Tuyuloveme menje laskan bahwa karirnya dipupuk dan dipengaruhi oleh perjalanan dan kolaborasi dengan senimanseniman lain. Graffiti telah mem berinya perasaan memiliki yang
melampaui negeri, bahasa, dan budaya. “Naluri” adalah puncak delapan tahun pengembaraan Tuyuloveme di seluruh dunia, belajar dari ber bagai seniman, memanfaatkan beragam teknik dan gambar dari budaya-budaya yang berbeda. “Naluri” adalah proses yang ia ibaratkan sebagai residensi se niman. Tuyuloveme tidak hanya terinspirasi oleh jalanan, tetapi juga “hidup dan bernapas” di jalanan melalui praktik kreatifnya. Sangat penting bagi Tuyuloveme untuk dapat memamerkan karyakaryanya di galeri tanpa kehilang an aspek-aspek penting dari praktiknya. Tantangan “Naluri” adalah menjangkau audiens yang berbeda tanpa sepenuhnya mengeluarkan karyanya dari konteks. Ketika ide pameran ini muncul, pertanyaan vital bagi si seniman adalah—bagaimana ia bisa mempresentasikan seni jalanannya di ruang galeri tanpa kehilangan etos praktiknya? “Naluri” adalah tribut terhadap sekaligus perenungan akan
“jalanan”: sebagai tempat, genre, dan estetika. Dengan menggunakan bahasa visual jalanan, audiens diajak untuk menyaksikan keindahan tak terduga dalam lapuknya kota, sementara sang seniman jalanan mempersembahkan penghor matan pada beragam tekstur yang terbentang pada lanskap itu. Penggunaan kanvas atau tampilnya kanvas di galeri tidak harus mendiskualifikasi karya dari kategori seni jalanan. Dalam “Naluri”, kita masih bisa mengenali sifat jalanannya. Maka, “jalanan” adalah genre sekaligus estetika. Bagi Tuyuloveme, pameran ini merupakan salah satu cara untuk mengekspresikan gairahnya akan subkultur yang berwajah jamak ini. Aspek terpenting pameran ini, menurutnya, adalah dampaknya. Ia menantikan saat untuk dapat memantik dialog antara seniman jalanan dan praktisi seni kontem porer. Harapannya, dialog itu dapat memulai perdebatan penting seputar seni jalanan dan menguji gagasan yang telah mengakar tentang apa itu seni.
__________________ 1) M. Halsey & A. Young, ‘Our desires are ungovernable’: Writing graffiti in urban space. Theoretical Criminology, 10 (3) 278-289, 2006. DOI: 10.1177/1362480606065908. 2) T. Bowen, ‘Graffiti as Spatializing Practice and Performance, Rhizomes, 25, http://www.rhizomes.net/ issue25/bowen/index.html.
GETTING UP Spray paint, cement, steel, truck ladder 184 x 120 x 9 cm 2022
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SWEET MISERY #1 Spray paint, acrylic, canvas, steel d. 105 cm x 9 cm 2022
SWEET MISERY #2 Spray paint, acrylic, canvas, steel d. 105 cm x 9 cm 2022
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PIECE BY PIECE #1 Spray paint, concrete, cement, steel, stainless steel exhaust pipes, truck grill guard 155 x 71 x 43 cm 2022
PIECE BY PIECE #2 Spray paint, concrete, cement, steel, stainless steel exhaust pipes, truck ladder 110 x 110 x 38 cm 2022
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FRONT
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DANCE OF JOY Resin, chain link fence, spray paint, cement, steel 170 x 166 x 70 cm 2022
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BACK
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FEAR AND LOVE #1 Steel, spray paint, cement, chain link fence, rolling steel shutter 200 x 184 cm 2022
FEAR AND LOVE #2
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Steel, spray paint, cement, teak shutter 200 x 184 cm 2022
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BLOOMING THROUGH DARKNESS #1 Spray paint and acrylic on canvas 150 x 200 cm 2022
BLOOMING THROUGH DARKNESS #2 Spray paint and acrylic on canvas 150 x 200 cm 2022
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SOULFUL SIMPLICITY Spray paint and acrylic on canvas 150 x 150 cm 2020
NALURI & REFLEKSI Spray paint and acrylic on canvas 150 x 200 cm 2022
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RANDOM ENCOUNTERS #1
RANDOM ENCOUNTERS #2
Spray paint and acrylic on canvas 200 x 200 cm 2021
Spray paint and acrylic on canvas 200 x 200 cm 2021
RANDOM ENCOUNTERS #3 Spray paint and acrylic on canvas 200 x 200 cm 2021
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T U Y U LOV E ME
TUYULOVEME is an Indonesian artist who began his artistic practice on the streets of Yogyakarta creating work in between the art and graffiti aesthetic. Although not a native of Yogyakarta, he has been a resident for couple of years as a base for him to do creative work while working with his national and international network. Tuyuloveme has been painting his unique style religiously on the streets for over ten years. He started developing his own character, the TUYUL, in 2009. It represents an alter-ego, a self-portrait of sorts, popping up on walls and street corners in different places. His visual style is often depicted as organized, expressive and chaotic at the same time; it is almost like a mirror to his personality in real life. You may find this artistic works in the walls or corner of streets in major cities all over Indonesia, Asia, Europe, Australia and US. His career has been nourished and influenced by extensive travels and an ability to work and collaborate with other artists. Tuyuloveme has been featured in national and international events with a number of solo exhibitions. 27 SOLO EXHIBITION 2018 “Nothing but Love” at Bside Gallery, Melbourne, AU 2017 “Same Shit, Different Place” at Allcaps Gallery, Bali, ID 2015 “Destroy to Create” at D Gallerie, Jakarta, ID 2014 “Santai” at Gardu House Gallery, Jakarta, ID DUO EXHIBITION 2017 “Sick of Your Stupid Shit” with NUNO at Cubao Expo, Quezon City, PH
2021 A Space District, Virtual Show, Jakarta, ID Nandur Srawung, Taman Budaya Yogyakarta, ID Keep The Fire On 7, Survive Artspace, Yogyakarta, ID Art Moments Jakarta, D-Gallerie, Jakarta, ID 2020 “Street Money”, Galerie Sakura, Paris, FR “Alley Cats”, Bside Gallery, Melbourne, AU What if?, Aliwal art centre, SG
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GROUP EXHIBITION 2022 WARTA 2 , Jogja Gallery, Yogyakarta, ID
Street In The Can, Sakura Galerie, Paris, FR Ink Beetwen, Upgo Space, Yogya, ID Soca Duck Tail, Kalakarya Kalijaga, Jakarta, ID
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Follow me, Eter Room, Jakarta, ID 2019 Mural Masters, Artprimo, Seattle, US Art in the streets, Blackbook, SG 2018 “Voyage to Indonesia”, Jakarta, ID “Voyage to Indonesia”, World Bank HQ , Washington D.C, US “Within These Walls”, Powerhouse, Brisbane, AU “Crush This City”, Urban Paradise Gallery, Brisbane, AU “Prosto”, Flacon, Moscow, RU “Survive Reunion”, Artotel, Yogyakarta, ID “Homeward Found”, VS Gallery, Melbourne, AU
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2017 “Party Collective” by garduhouse at Third eye space, Jakarta, ID “Bali Off The Wall” at Allcaps Gallerie, Bali, ID “Jakarta Off The Wall” at Art Stage Jakarta, ID “Bazaar Art Jakarta”, Jakarta, ID 2016 “Artwhoart”, Moscow, RU “Project Sama Sama by Darbotz”, at garduhouse, ID 2015 “Aliwal Urban Art Festival”, at Aliwal artcentre, SG “Demolition Party”, at The mill, SG “Keep the Fire On”, at Survive garage, Yogyakarta, ID
“GLUED sticker party 2”, at Gallery Nasional, Jakarta, ID 2014 “Solidarity Movement IDN X SGP” at Gardu House, Jakarta, ID “CanStop” at Gardu House, Jakarta, ID “Eminent Take Over”, at Eminent Plaza, SG “Hiatus Art residency”, at RSCLS Studio, SG 2013 “Typhograff”, at Sellie Coffee, Yogyakarta, ID “Streetart menantang ruang”, at Roemah 9a Gallery, Cibubur, ID “Survive day”, at Asmara Coffee and artspace, Yogyakarta, ID “Indonesian superhero” at Pullman Hotel Central Park, Jakarta, ID “Solidarity Movement SGP X IDN” at The Substation Gallery, SG INTERVIEW, COMMISSIONED WORKS, EVENT 2022 Meeting Of Styles Graffiti Festival, Painting, Karanganyar, ID Artotel Hotel Thamrin, Painting, Jakarta, ID 2021 Collabonation, Painting, Yogyakarta, ID Urban Morphogenesis Mural Festival, Painting, Solnechnodolsk, RU Sweda, Traditional Jewelry collaboration, Yogyakarta, ID Everyday Leisure, Fashion collaboration, Jakarta, ID
2020 Im3 Ooredoo, Painting, Indonesia Indosat Ooredoo, Art installation, Jakarta, ID Aliwal Urban Art Festival, Painting, SG 2019 Urban Morphogenesis Mural Festival, Painting, Moscow, RU Mural Masters, Painting, Seattle, US Paris Saint-Germain, Collaboration project, ID Aliwal Urban art fest, Painting, SG Invasian Magazine, Interview, HK Media Indonesia, Jakarta, ID Indosat Ooredoo, Painting, Jakarta, ID Pump, Collaboration Brand, Jakarta, ID 2018 Puma 50th Anniversary, Campaign collaboration, ID Stroll and spray, Brisbane, AU Brisbane Street Art Festival, Painting, Brisbane, AU Crush This City, Painting, Brisbane, AU Maple Hotel, Painting, Jakarta, ID Herbalife, Painting, Jakarta, ID Universitas Indonesia, Painting, ID Yardfest streetart festival 18, Painting, Surabaya, ID Never Faded, Painting, Melbourne, AU Culture Cartel, Painting, SG Lazada WOW FEST, Painting, Jakarta, ID Sweelee music, Painting, Jakarta, ID
CATALOGUE FOR Naluri, a solo exhibition by Tuyuloveme, August 2022 WRITER Zarani Risjad PHOTOS BY Kemal Yusuf PUBLISHED BY D Gallerie, Jakarta, August 2022 EDITION 150 copies DESIGN BY Kotasis 333, Surabaya, Indonesia, www.kotasis.com PRINTED IN INDONESIA
Jl. Barito I No.3, Kebayoran Baru Jakarta 12130, +62 21 739 9378 dgalleriejakarta@gmail.com dgalleriejakarta.com