View To Scale
View To Scale
Digital print on archival paper
Edition of 100
Dimensions: 42.0cm(H) x 29.7cm(W) / 16.5"(H) x 11.7"(W)
Note: Actual colours may vary due to photography & computer settings.
< Imaginary Homeland: 我是不是該安靜的走開 >
Use your mobile device to see a new side of this print: go to your Accessibility settings, select 'Invert Colours', and view the artwork via your phone's camera!
This print is a part of The Artling's Prints Project (A.P.P.).
Edition of 100 + 2 AP
Framed Print: US$ 365. Get in touch at firstname.lastname@example.org if you'd like us to organize framing for you!
“Drawing, with its graphology, elaborates what our consciousness grasps in an instant.”
- Henri Cartier-Bresson
The work is part of a process that looks at photographic imagery and their impact in our remembering and re-forming of personal narratives. Having left his hometown of Solo City, Indonesia due to ethnic tensions at the age of 9, the artist’s historicisation of his former country was mostly through images and the imagined. The process started with the artist drawing negative images of reportage photographs of Indonesian politics in the mid-sixties, a period of transition from Soekarno’s National Independence to Soeharto’s New Order. Lyrics from the 80’s Mandopop–songs filled with heartbreak melodramas, that the artist listened to in his youth–accompany these drawings.
The negative image is of a young Soeharto, drawn to a 8x10 (Ultra) Large Format film size. The viewer is invited to use her mobile device, with invert settings turned on, to see the positive image. Shifting between the modality of drawing and photography, the artist reflects viscerally upon the imagery of his personal history, seeking agency."
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Based in: Singapore
Boedi Widjaja (b. 1975, Solo City, Indonesia) lives and works in Singapore. Trained as an architect, he spent his young adulthood in graphic design, and turned to art in his thirties. His works often connect diverse conceptual references through his own lived experience of migration, culture and aesthetics; and investigate into concerns regarding diaspora, hybridity, travel and isolation. The artistic outcomes are processual and conceptually-charged, and embrace multiple mediums ranging from drawings to installations, sound and live art.
He has shown in numerous exhibitions internationally, including: MAP1: Waterways (2017), Diaspora Pavilion, 57th Venice Biennale; Jerusalem Biennale (2017); Yinchuan Biennale (2016), China; From east to the Barbican (2015), Barbican, London; Infinity in flux (2015), ArtJog, Indonesia; and Bains Numériques #7 (2012), Enghien-les-Bains, France. The artist’s solo exhibitions include: Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore; Path. 6, Unpacking my Library 。书城 (2014), Esplanade, Singapore; and Sungai, Sejarah 河流, 历史, 源 (2012), YRAC S-Base, Singapore. Recent accolades include: Top 10 Winner, FID Prize (2017); Finalist, Sovereign Asian Art Prize(2015); ArtReview Asia FutureGreats (2014); Grand Prize (Sound Arts; with David Letellier), Bains Numeriques, France (2012); and First Prize, Land Transport Authority Beauty World Station (2012).
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