TWS –Can you share something with our readers that you would like them to know about you?
R –As a visual artist, I would love for your readers to know that my art is inspired by my personal experiences, emotions, and observations of the world around me. I strive to create art that not only represents my own journey but also resonates with others on a deeper level. I believe that art has the power to connect people from different backgrounds and cultures, and I hope that my work can inspire empathy, understanding, and meaningful conversations.
TWS –Please, tell us about your journey from being a law school student to becoming a graphic designer and finally an artist working with collage?
R –In 2005, I began my law studies at university, but it was also the year I was introduced to the vibrant creative scene in Bandung. Through my friendships with art, design, and music people, I was inspired by their creative endeavours and felt compelled to try my hand at making something myself. Using Adobe Illustrator and Photoshop, I created pieces that I shared on my blogspot and DeviantArt accounts.
In 2008, I was given an opportunity to work as a freelance graphic designer for a well-known streetwear brand in Bandung. I designed t-shirts and other pieces, and during this time, I began experimenting with digital assets I found online, treating them like found objects, and incorporating them into my work through the use of collage. While my initial attempts were admittedly poor, I found myself enjoying the process and have continued making collages ever since.
TWS –What attracted you to the medium of collage and who were the artists that initially inspired you to work with it? How did you get started in this field?
R –One of the fascinating aspects of collage art is the act of taking something out of its original context, sampling it, and then rearranging the pieces to create a fresh work. The end result is often a composition that feels both unfamiliar and familiar at the same time, if you can grasp what I mean. I find this process extremely compelling, and it’s something that I truly enjoy.
I recall stumbling upon the work of Max Ernst online and being immediately struck by its brilliance. It inspired me to create my own collages using my own material, which led me on a journey of exploring and sourcing materials that I could use to make my own unique creations.
TWS –Your worked has evolved over the years. How would you describe your artistic identity 15 years ago compared to how you see yourself now?
R –Without a doubt, I am an artist who enjoys experimentation. My art practice serves as a permanent testing ground, which means that my works are always evolving and changing over time. I am like a sponge, constantly absorbing my surroundings and using them as inspiration for my creations.
TWS –Can you elaborate on the concept of “ordered chaos” in your work and how it influences your creative process?
R –My collage work is heavily influenced by my background in design. When I create designs, there is a great deal of structure involved, such as following a client’s brief, utilizing grids, and creating a composition that works well. Everything is carefully planned and executed with order in mind. However, when I switch gears to work on my collages, I feel a desire to liberate myself from all of that structure and embrace chaos. Despite this, I find that my designer’s mentality is still present, even if I’m not using grids or other design elements. I still strive to create a well-crafted composition, even if the end result may appear to be complete chaos at first glance. So, while some of my collage works may seem disorderly, they are actually meticulously crafted in their own unique way.
TWS –Your statement mentions that your art is experimental and marked by moments of contemplation. How does this translate into your work process?
R –I understand that this may seem contradictory, but as an artist, I find that before I dive into any experimentation, I need to have a clear idea of what it is that I’m actually experimenting with. This means that I put a great deal of thought and consideration into my work before I actually begin the creative process. However, once I start working on a piece, the process becomes more intuitive, and I allow myself to go with the flow and be guided by my instincts.
TWS –There’s a mixed media approach in your work where elements from various sources and mediums blend. Can you tell us about the nature of the elements included in your work?
R –Initially, I exclusively utilized collages in my art. However, in 2021, I stumbled upon a fortuitous event when I attempted to find pictures of fire, which proved to be quite challenging. In response, I decided to create my own depiction of fire through drawing. To my surprise, the outcome blended seamlessly with my collage work. As a result, I started to merge some of my drawings with my collage pieces.
TWS –As someone who was born and raised in Indonesia and has recently moved to Australia, do you see any trace of your Indonesian roots in your work? And has the move to Australia had any impact on your work?
R –As an artist, I’ve never incorporated any specific Indonesian roots or influences into my work because it’s a challenging task. Indonesia is a vast country with thousands of different ethnic groups, cultures, and languages, making it difficult to define what Indonesia truly is. Additionally, when I moved to Australia, it didn’t have a direct visual impact on my work. However, being in Australia has given me access to a plethora of exceptional art museums and galleries, which has sparked my curiosity about my position in the contemporary art world. It’s a question that seems to have no definitive answer, and it’s a never-ending exploration.
TWS –I read that you have struggled with artist’s block. In an era of social media, where we are expected to be constantly brilliant, it takes courage to be open about such struggles. Can you tell us about how you dealt with that experience and your thoughts on it now?
R –I believe that many creatives can relate to the experience of putting too much pressure on themselves to constantly produce brilliant work, which can lead to burnout. When this happens, we can start to feel like impostors and dislike our own work. However, I don’t think this is necessarily a bad thing. It’s important to recognize when we are experiencing burnout and to take a break for a while. By doing so, we can recharge and come back with fresh ideas, ultimately leading to better work. It’s all part of the creative process and a way to continuously improve.
TWS –As a lawyer, you have likely researched the issue of collage and copyright. Can you share with us what you have learned about this topic and what advice you would give to other artists working with collage?
R –Although I have a degree in law, I’ve never worked as a lawyer and therefore don’t consider myself one. However, I find the issue of copyrights in relation to collage work to be fascinating. Each country has its own copyright laws, but generally speaking, as long as your collage is not being sold, you should be in the clear and not violating any copyrights. However, this is still a topic of debate. Personally, I prefer to use public domain images that are free to use. Or when I use materials that are in a grey area when it comes to copyright, I will only use a small part of the composition so that it’s difficult to tell where the image originated from.
TWS –Can you tell us about how you became involved in the NFTs and web 3-based art movement?
R –Initially, I was hesitant to get involved in the NFT and web-3 scene because of the negative things I had heard about it. However, after doing some research, I realized that not everything is bad about it. Yes, there are bad actors, but that’s the case in any industry. Eventually, I decided to mint my own NFT in 2021 after some of my friends did. I didn’t expect it to become my main practice, but I became immersed in the scene. I discovered other artists who were doing some amazing experimental work, and it inspired me to do more as well.
TWS –How has your experience as a visual artist changed since you started working with NFTs?
R –It definitely changed my experience as an artist. As I mentioned earlier, I absorb a lot of information like a sponge, and the web-3 space moves at a breakneck pace. This has both positive and negative effects. On the one hand, you can instantly share your work with an audience without any gatekeepers, like the contemporary art world’s gallery system. Everything is decentralized. That’s the beauty of it. I know it’s oversimplified, but that’s the basic idea. On the other hand, the fast pace of the space can make you feel obligated to constantly showcase your new work, and the pressure to constantly produce can lead to burnout. Expectations can be a real enemy in this regard.
TWS –What are three reasons someone should consider minting NFTs, and what are three tips you would give to someone just starting out with NFTs?
R –I would suggest that if you’re considering minting your art as an NFT, it’s best to first immerse yourself in the scene. It’s important to do some research and gain an understanding of what NFTs are, and it’s beneficial to have friends who have already minted NFTs that you can speak to. Engage in conversations with other artists and collectors on Twitter and make them aware of your art. Once you’ve done this, you can mint your NFT on the blockchain of your choice, but it’s important to remember that instant sales should not be expected, especially during the current bear market. However, if you participate in the scene during the bear market, it will be easier for you to navigate the next bull market.
TWS –What is your personal definition of collage?
R –Damn this is hard. I am afraid I don’t have an answer to this.
Find more about Resatio in his website, Twitter or Instagram profile
