I Nyoman Masriadi

The work is in good condition overall, as is the canvas. There are indications of minor wear and handling to the edges, but paint layers are well preserved and stable. Under ultraviolet light inspection, there is no evidence of retouching. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

I Nyoman Masriadi has received international acclaim for his artworks that are satirical depictions of modern society. The paintings are governed by a selection of characters interpreting the follies and foibles of human existence. Widely respected as a fresh presence in Indonesia’s contemporary art scene, Masriadi has established himself as a vocal critic on the country’s development to be a key leader in the region.

Largely inspired by cinema and computer games, his oeuvre reads as a series of parables that educate the viewer on what he perceives to be the repercussions of modernization. The individuals whom Masriadi has chosen to live out his stories are familiar archetypes that the public will recognize, and more importantly, may relate too. Many of his paintings are autobiographical, with the artist directing criticism towards his own experiences, which are often expressed in a comedic fashion. Though they are inherently caricatures, the people who inhabit the artworks possess their own identities within the given paradigms.

The current work Sok Bangat!: Sombong Sudah Bawaan Tidak Pake Proses (So Snooty!: Arrogance Is Innate, Not Something You Acquire), references the artist’s childhood interest in gaming, for the painting is inspired by Indonesian street culture, embracing local slang to breathe life into the narrative. The man featured may be an embodiment of the digital generation, men and women who are infatuated with technology, valuing the innovations that modern advancements have made. Floating in what appears to be a swimming pool, the man’s brow is furrowed, his face bright red with exhaustion as he stares intently at the viewer. “Refreshing dude! Too pro, lazy to surf, rather take a dip”, he exclaims to the watching crowd. 

Sok Bangat!: Sombong Sudah Bawaan Tidak Pake Proses (So Snooty!: Arrogance Is Innate, Not Something You Acquire) is a recent addition to Masriadi’s oeuvre, and is demonstrative of his maturation as an artist, and growing confidence in favoured themes and artistic styles. His paintings are recognizable for their unique portrayal of the human form, exaggerated depictions that further emphasize the satirical quality of the stories.

Masriadi’s paintings are very rarely one-sided conversations, for the characters inspire a response from the public, encouraging a creative dialogue to take place. Lot 237 is an excellent depiction of this relationship between the subject and his audience. An active participant in the narrative, the man is reaching out to the viewer, demanding that he be heard. Inspired by computer games where players choose avatars to guide them, the man portrayed in this present painting is perhaps a mirror for the public. He reflects their strengths and weaknesses for them to see in a new, discerning light.