Agus Triyanto BR
- Agus Triyanto BR
- Savana dance
- Signed and dated 2016; signed, titled, inscribed and dated 2016 on the reverse
- Oil on canvas
- 180 by 250 cm; 70 3/4 by 98 1/2 in.
Agus TBR is a chronicler of spatial-time, marking ethereal moments within a movement. On the bottom right of this canvas we see an arm frozen in mid-air, dismembered from the remainder of a man’s body, his expression is one of anguish. The white horse’s hind legs disappear into the torso of a man kneeling on the ground, the severance of time from space allowing the artist producing this fascinating chimeric composition.
The artist’s style leans towards the surrealistic, with meaning created in the contrasts between various objects. His sense of scale is contingent not upon realism but upon importance: the two armed men in the center of the composition are severely out of scale compared to the rest of the objects surrounding it. Each image is carefully chosen to evoke a mood: the carousel amid overgrown weeds in the background is nostalgic in its presentation, harkening back to a time of simple joys in life.
It is as if Agus TBR materializes the spatial-temporal “time lag”1 of which Homi Bhabha writes, deliberating the disjunctive site between those in power and those left in its influence and cleaves open the potential for postcolonial agency. He mulls upon realities brimming under the surface of our daily existence, but within that, calls for a redemptive hope carried by the innocent youths who carry the possibility of change.
1 Homi Bhaha, “Race, Time and the Revision of Modernity,” Atlas of Transformation. http://monumenttotransformation.org/atlas-of-transformation/html/r/revision-of-modernity/race-time-and-the-revision-of-modernity-homi-k-bhabha.html