Sea Art Fastival 2023 Artist

Ari Bayuaji
Place of activity

Canada, Montreal Indonesia, Bali

Text about the artist.

Ari Bayuaji was born in Indonesia in 1975 and immigrated to Canada in 2005. Dividing his time between Montreal and Bali, the artist is known mainly for his art installations, which incorporate found and ready-made objects from different parts of the world, thereby exposing himself to the different mechanisms of cultures. In almost all his artworks, Bayuaji has consistently used found/old objects from around the world as the material and subject matter. He is an expert in conveying aspects of daily life, as his works usually try to show the overlooked artistic value in everyday life through objects and places, and their roles within society.

<Traces of the Waves>

2023, Threads from plastic ropes, plastic waste, wood, 300×2100×185cm. Commissioned by Sea Art Festival 2023.

What if we were able to transform immense quantities of plastic objects found on our shores into valuable material? Traces of the Waves is a new art installation, which forms part of the artist’s ongoing Weaving the Ocean art project series. In this project series, artist Ari Bayuaji transforms plastic waste into textile art, often made in collaboration with artisans. The site-specific installation, created for this year’s Sea Art Festival, and situated alongside the wooden pathway next to Ilgwang Beach, has been constructed using thousands of plastic threads unraveled from plastic ropes found on beaches and the coast in Bali (Indonesia), as well as found plastic objects gathered from shorelines in Busan (South Korea). Colorful plastic ropes, which are used for fishing nets, are often found washed up on our coastlines across the world in large quantities. Many times, they are entangled with marine life such as corals, or wrapped around vegetation on the beaches and beyond. But apart from plastic ropes, every year, we produce and consume over 400 million tons of plastic. From these plastic objects, we consume and throw away, about at least 14 million tons end up in the ocean every year, being carried away across the waters. Many of these plastic objects end up along our shorelines and plastic makes up almost 80% of all marine debris, from sea surface waters to deep-sea sediments. Traces of the Waves addresses pressing environmental and social issues such as the immense pollution of our oceans and its consequences, the destruction of marine life, and the loss of the coastlines’ natural beauty. Bayuaji - working in collaboration with communities and artisans - goes through a meticulous process of collecting little by little plastic ropes and other plastic objects found on the beach, washing these materials several times, and separating them until they are transformed into usable fine threads that can be woven into textiles or used in his art installations such as this one. This long process becomes a collaborative, caring and conciliatory effort that transforms an insignificant and cheap plastic object that pollutes our waters, giving it a new life as a useful and valuable artistic material. A devastating and negative impact on the environment becomes a “positive” outcome, drawing on collectivity and common endeavor, while celebrating craftsmanship. At the same time, Bayuaji pays homage to his Indonesian culture and textile traditions, but also the importance and role of the sea, which is right to the center of Balinese culture, philosophy, spirituality and rituals. As one walks through the Traces of the Waves path, colorful strands and tufts of plastic threads can evoke forms of marine creatures like jellyfish and corals or the feel of seaweed strands and sea grasses moving in the waters.


물고기 입맞춤 아리 바유아지

하이퍼콤프ㅣ10분 13초ㅣ드라마
작품 설명

포레스트 커리큘럼은 남아시아와 동남아시아를 잇는 삼림지대 조미아의 자연문화를 통한 인류세 비평을 주로 연구합니다. 작품 유랑하는 베스티아리는 이 연구의 일환으로, 비인간적 존재들이 근대 국민국가에 내재된 계급적이고 세습적인 폭력과 그에 따른 잔재들에 어떻게 대항해왔는지를 보여주는 작품입니다. 좌중을 압도하는 듯한 거대한 깃발들은 위태롭고도 불안하게 스스로를 지탱하고 있는 듯 보입니다. 깃발에는 벤조인이나 아편부터 동아시아 신화에 등장하는 동물들까지 비인간 존재들을 상징하는 대상들이 그려져 있습니다. 각 깃발들은 비인간적 존재들의 대표자로서 모두가 한데 결합되어 아상블라주 그 자체를 표상합니다. 또한 깃발들과 함께 설치된 사운드 작품은 방콕과 파주에서 채집된 고음역대의 풀벌레 소리, 인도네시아의 경주용 비둘기들의 소리, 지방정부 선거를 앞두고 재정 부패를 유지하기 위한 수단으로 쓰이는 불필요한 공사에서 발생하는 소음, 그리고 위의 소리들을 찾아가는데 사용된 질문들과 조건들을 읽어 내려가는 내레이션으로 이루어져 있습니다. 아리 바유아지는 1975년 인도네시아에서 태어나 2005년에 캐나다로 이주했다. 몬트리올과 발리를 오가며 활동하는 작가는 세계 각지에서 발견한 사물과 기성품을 결합함으로써 여러 문화의 메커니즘을 경험하게 하는 설치 미술로 알려졌다. 그는 대부분 작품의 소재와 주제로 세계 곳곳에서 찾거나 유래된 사물을 지속하여 사용해 왔다. 바유아지는 사물과 장소, 그리고 그것들의 사회에서의 역할을 통해 일상에서 지나쳐지는 예술적 가치를 주로 보여주고자 작업하며 일상의 면모를 표현하는 데 뛰어나다.

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