Ulez Hulaesuddin (°1979, Serang, Indonesia) makes photos, performances, installations and films. By manipulating the viewer to create confusion, Hulaesuddin makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His photos directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.His works are on the one hand touchingly beautiful, on the other hand painfully attractive.
Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By studying sign processes, signification and communication, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By applying abstraction, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.His works are often about contact with architecture and basic living elements.
Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By applying a poetic and often metaphorical language, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges.
The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. In a search for new methods to ‘read the city’, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse.
Time and memory always play a key role. By emphasising aesthetics, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Ulez Hulaesuddin currently lives and works in Bogor.
email: siulez [at] yahoo [dot] com
Artist statement courtesy of 500letters.org Mwahaha now you know