The artist was born in 1970 in Bandung, studying fine art at the Bandung Institute of Technology and the Central Saint Martins College of Art and Design. It was in London that he first developed an enduring fascination for the movement and flow of liquids on canvas, starting with oils until his discovery of resin in 2008, which immediately became his visual trademark. His resins are fully synthetic and industrial-grade, allowing the artist to select exact shades from the entire CMYK (cyan, magenta, yellow and key/black) spectrum and tap into infinite colour possibilities, ultimately infusing his work with the greatest immediacy of colour.
In a marked tonal contrast from his previous work, Qerramath - as part of his Volcanic Ash series – is darker and more muted, bearing a colour palette dominated by blood red and black on a somber ash grey backdrop. All of this dwarfs the accents of white sparsely scattered across the panels, giving the work an ominous, looming atmosphere. The piece deliberately mimics the very moment of an eruption, ash and colour expanding across the frame uncontrolled. Sunaryo captures the paint in action; as different pigments mix together, they combine to yield diverse, complex shades, such as where the red bleeds into black to form subtle browns. As is characteristic of abstraction in art, rather than creating a naturalistic reproduction of this chaos, Sunaryo’s work instead strives to capture its random energy directly. The artist splashes and drips the pigmented resin onto the plexiglass panel, foregoing the restricting control of brushstrokes in favour of gravity and the material’s natural flow. His work therefore pays homage to the Abstract Expressionism of Jackson Pollock or Joan Mitchell, with intense, organic movement and forceful colours.
The resins in Qerramath also accumulate in layers – where the pigments are suspended in the midst of movement itself – giving the shapes dimension and a real, tactile quality. Even solidified, the paint retains its fundamental fluid form and glossiness. As Sunaryo himself explains, ‘In the first glance, it probably looks like a flat landscape, but when we take a careful look we see its deepness.’ Ultimately, his work captures the liminal shifts between the liquid and solid, and the static and kinetic - freezing a microsecond for posterity.
In Qerramath, Sunaryo fully embraces the ‘natural character’ of resin and the creative possibilities that chance and randomness offer. In the end, the artist fuses both the synthetic and natural to reinvent the Expressionist idiom on his own terms, creating a symphony of colour, shape and mood.
 Arin Sunaryo, as quoted in interview with IndoArtNow.
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