策展 / 万军 

   Curtor / Wan Jun 

出品 / 赵妍 

Producer / Zhao Yan 

出生于：1976年，印度尼西亚巨港

日惹 Seni Indonesia学院（ISI）美术硕士

Identification Object Series #1

 Acrylic, Marker, Oil stick,  and Pencil on Canvas 

150×150 cm  2019

Identification Object Series #3

Acrylic, Marker, Oil stick,  and Pencil on Canvas,

150×150 cm  2019

Ars Longa Vita Brevis #2b

Marker,Oil and Oilstick on Canvas

150×150cm  2016

最终的结果是，文本的字面意义不再重要，不再直接有助于美学意图。相反，文本现在可以与艺术作品中的其他视觉元素和媒介和谐地共存，总的来说成为对艺术家记录的经验、思想、迷恋和意见的重新诠释。

戴迪的艺术作品本质上为观众提供了一个机会，让他们不仅能欣赏到他们视觉上所看到的东西，而且还能控制语境的理解。这个属性是通过使用文本的多层和随机放置来实现的，观众可能会发现，这样会创建无数的视觉轨迹组合。与书籍不同，书中的文本是以作者预先确定的方式呈现的，戴迪的艺术作品允许观众同时“阅读”并成为“阅读”内容的作者。

Originally from Palembang in Southern Sumatra, Dedy Sufriadi is the second of six siblingsand began painting seriously at the age of 15 while still in Senior High Schoolfor the Arts (SMSR). From there, he went on to study at the prestigiousIndonesian Institute of the Arts (Institut Seni Indonesia) in Yogyakarta,better known by its Indonesian acronym ISI, where he majored in painting. In2013, he obtained his Masters degree from the same institution. 

Dedy is anavid reader, seriously consuming books ever since he began his tertiaryeducation in 1995. One specific area he is particularly well read in isexistential philosophy, a subject that has strongly informed his artisticendeavor. Among the books he has read over the years include philosophicalheavyweights such as Friedrich Nietzsche, Jean Paul Sartre, Søren Kierkegaard,Martin Heidegger, and Albert Camus, among others.

Because ofhis love for reading, it should come as no surprise that text has become a veryimportant element in his art. Dedy also notes the ubiquitous nature of text, asa means to convey information, citing the often-overlooked fact that we aresubjected to text, in its various forms and mediums of presentation, at almostevery waking moment.

Earlier inhis career, a time that Dedy describes as his Existentialist Period (1998 –2004), text was used in his paintings in a manner that could be described ascomplementary to what was presented on the canvas. The text was more distinct,and one could visually track and verbalize what was presented quite easily,although portions may have been obscured.

Text in hispaintings during this period articulated his many experiences, reflections,daily observations, or even transcribed excerpts from books he was reading atthe time. Dedy describes his use of text as an “added alternative to overcomeissues of visual understanding”, citing picture stories with added text werealways easier to understand, to illustrate his point.

Gradually,how text is used in Dedy’s artworks evolved, a process that began when hestarted to ponder and question the utilization of text in paintings. How didthe convention of text begin? Who was the first to become aware of text, andwhat were the circumstances surrounding this awareness? Could text itself broadenand develop knowledge? These were among the core questions that became theparameters for Dedy’s serious study of text.

Whatemerged from this philosophical thought process was an eventual repackaging ofhow Dedy presented text in his works. Randomly placed and multilayeredapplications of text emerged as new visual elements, supplanting colors andlines typical of abstract expressionist artworks. The text became not much morethan disparate snippets, each having little, if any, to do with the other, providinga much-needed middle path in the tug-of-war between intuition and logic, thefreedom to improvise freely on the one hand, and the logic dictates demandingthat the text still be legible and readable, on the other.

The endresult is that the literal meaning of the text presented no longer becomesimportant, and no longer contributes directly to the aesthetics intended.Instead, text now could coexist harmoniously in parallel with other visualelements and mediums within the artwork, in total becoming a reinterpretationof recorded experiences, thoughts, obsessions, and opinions of the artist.

Dedy’sartworks essentially provide the opportunity for the viewer to not onlyappreciate what they visually discern, but to be in control of contextualunderstanding. This attribute is achieved from the multilayering and randomplacement of the text utilized, creating countless combinations of visualtrajectories the viewer may pick up on. As opposed to books, where text ispresented in an arrangement predetermined by the author, Dedy’s artworks allowthe viewer to simultaneously “read” and become the author of what is “read”.