Epenthesis: the insertion of a consonant letter or sound within a word in order to more easily pronounce it.
For Lines, Borders, Boundaries, and The In-Betweens at Yamamoto Gendai, Novali has produced a body of work that attempts to aid in communicating those things otherwise difficult to translate or verbalize. This body of work acts as a continuation of his most recent series shown in Art Basel Hong Kong 2017, more sharply honed with respect to strict limitations in constructing composition. Constrained and pressured by complex surrounding sociopolitical environments, Novali attempts to establish a visual lexicon in relation to the self and its attempt to assimilate its perimeters. It is then through line, structural composition, transparency, and soft remnants of gestural forms that Novali builds "consonant letters" of sorts, in an attempt to leave traces of discrete thoughts and ideas.
These works in red leave more questions than answers, it seems it would not be coincidental that the works contain an almost flesh-like quality, that there exists remnants of repetition and depth of contemplation in Novali's work. Can that which is incommunicable be made comprehensible through Novali's aesthetic explorations?
Artists
Born 1978, Surakarta, Indonesia
Lives and works in Surakarta, Indonesia
Aditya Novali received his Bachelor of Engineering in Architecture from Universitas Katolik Parahyangan, Bandung, Indonesia, in 2002; and an IM Master of Conceptual Design from the Design Academy Eindhoven, The Netherlands, in 2008. Novali works with a variety of materials, often first conceiving an idea and then finding the right medium to transcribe his vision. His background in architecture influences his sensitivity to structure, space, and knowledge of construction – key elements of his approach and aesthetic. Addressing themes such as boundaries, identities, materialism, and urban life, Novali’s work interacts with the viewer and transforms with each viewing.
Novali’s work has been exhibited in numerous galleries and institutions both locally and internationally. Some of his previous exhibitions include recent solo presentations New Obsolescence: ADITYAVOVALI at ROH, Jakarta, Indonesia (2023); WHY at Tumurun Museum, Solo, Indonesia (2022); ME:DI:UM with ROH Projects at Liste Art Fair, Basel, Switzerland (2019); Significant Other at ShanghArt Gallery, Singapore (2019); Caprice with ROH Projects at Art Basel Hong Kong: Discoveries, Hong Kong (2018); and ACRYLIC at ROH Projects, Jakarta, Indonesia (2016); and notable group presentations Dhaka Art Summit: বন্যা/Bonna, Bangladesh Shilpakala Academy, Dhaka, Bangladesh (2023); On Muzharul Islam: Surfacing Intention at Dhaka Art Summit: Seismic Movements, Dhaka, Bangladesh (2020); The 9th Asia Pacific Triennial of Contemporary Art, QAGOMA, Brisbane, Australia (2018); DIASPORA: Exit, Exile, Exodus of Southeast Asia, MAIIAM Contemporary Art Museum, Chiang Mai, Thailand (2018); The 15th Asia Art Festival: Multiple Spectacle Art from Asia, Ningbo Art Museum, Ningbo, China (2017); Imaginary Synonym, Tokyo Wonder Site, Japan (2016); Aku Diponegoro, National Gallery of Indonesia, Indonesia (2015); Shout! Indonesian Contemporary Art, Museo d’Arte Contemporanea (MACRO), Italy (2014); Little Water, Dojima River Biennale, Osaka, Japan (2013); South East Asia (SEA)+ Triennale, National Gallery of Indonesia, Indonesia (2013); Of Human Scale and Beyond: Experience and Transcendence, Hong Kong Arts Centre, Hong Kong (2012). Novali was nominated for Best Emerging Artist Using Installation at the 2016 Prudential Eye Awards in Singapore; Finalist in the 2010 Sovereign Asian Art Prize, and awarded Best Artwork in the Bandung Contemporary Art Awards (BaCAA) in the same year.
View ArtistCopyright belongs to The Artist
Photography by The Artists and ROH
Courtesy of The Artist, Yamamoto Gendai, and ROH