Ariadhitya Pramuhendra, born on August 13th, 1984, in Semarang, Indonesia, is a distinguished visual artist renowned for his mastery of printmaking. In 2007, he earned a Bachelor of Fine Arts degree with a major in Printmaking from the Art Department of the Bandung Institute of Technology, a pivotal institution in the Indonesian art scene.A seamless blend of traditional printmaking techniques and contemporary aesthetics marks Ariadhitya’s artistic journey. His creations, characterized by intricate details and narratives, reflect a profound dedication to the craft and a nuanced understanding of the artistic medium. In 2011, Ariadhitya Pramuhendra was honoured as the “Artist of the Year” among individuals under 30 at the Soemardja Art Award, hosted by the Bandung Institute of Technology. This prestigious recognition underscores his exceptional talent and groundbreaking contributions to the art world, solidifying his position as a leading force in the Indonesian contemporary art scene. In 2006, he received an Honourable Mention in Drawing at the 12th International Biennale Print and Drawing Exhibition held at the National Taiwan Museum of Fine Arts. This international accolade highlights his proficiency in diverse artistic forms and his ability to captivate audiences on a global scale.
I was born into a Catholic family in Semarang, a provincial capital on the northern coast of Java Island. I embraced religion as a guiding force in my life. However, I am also aware that religious life in Indonesia has evolved through a syncretic encounter with native cultures and other religions. I lived in a Muslim-majority country, and it is the specific cultural life in Indonesia. This multi-ethnic and multi-faith society urges me to explore religious icons, symbols, and rituals. My intention is not only to express religious adherence but also to culturally observe it. For me, symbols and rituals are forms of language that must be digested on a personal level. Yet, they must also be freely and critically interpreted to understand the society in which they function. As for art, it serves as a medium for inquiry and remembrance, allowing me to explore infinite ideas about life, the universe, religion, and spiritualism. Reflecting on religions and God, I am reminded that once we believe God is divine, religion becomes sacral. However, sometimes, political issues within the monarchy of religion dominate, with a man positioned above the woman.
The After the Crucifixion series reflects a contemplation of my personal spiritual life as a son of a very special person—my mother. A woman can be described as a mother or a symbol of holy angels, the mother of Jesus, etc. A woman’s hand with nail wounds symbolises the sacrifice every mother makes for her life. It’s as if they all have been crucified as humans. In my spiritual journey, I have found that everybody has their own cross to bear, especially women: mothers. One thing is for sure, “religion is flawed, but it’s only because humans are flawed.”
2022 Can’s Gallery Across The Time, Can’s Gallery Indonesia
2019 The Monster Chapter II Momentum, National Gallery of Indonesia, Indonesia
2018 Monster Chapter I: Memory, Can’s Gallery, Indonesia
2018 Disparates Bodies, Yavuz Gallery, Singapore
2015 Gray Would Be The Color, If I Had A Heart, Marc Strauss Gallery, USA