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We are living in contemporary world where the power of information, globalization and capitalism is dominating all aspect of human lives. A time of daily life grows increasingly banal, and banality is increasingly accepted as normal. Nowadays, human life is a domain crowded by hedonist, worshippers of capital, and hunters of power. Under the banner of materalism and consumerism, the reality of contemporary life along with its banalities is marching forward to displace all those that are spiritual, sublime and mystical. The populace of the contemporary world seems to be cast ashore onto a glittering, yet barren space. Trapped in the mundane daily life that beseiges them, people grow increasingly forgetful of the essence of their presence in the world. They have been alienated from their authentic existence.

Samarpan's creative work seems to be a pilgrimage to find the oasis of the authentic existence in the dessert of contemporary reality. His artistic endeavor is an attempt to bring forth his existential experiences as they connect with the world. His works reflect an existential movement of the self as it struggles to embrace reality as authentically as possible. His creative vision is like an existential lamp which lights through the depth of reality.

Samarpan focuses on the spiritual essence of reality, in order to unveil its layers of meanings. The orientation of his creative motion is not a reality that has been captured by the limited capacity of perception, but a reality that has been intimately pondered with the fullest of heart and mind. What he paints has nothing to do with things existing in real space, though it does with the realization of the abstract character of the perceptions we have of real things.

Samarpan's creative urge is directed toward the search for visual forms of the invisible, mystical forces behind all things. Contemplation and reflection upon the various thoughts and feelings when faced with certain realities stimulate him to paint. He creates abstract compositions by exploring the formal elements of painting, especially lines and colors. In his paintings, sometime there are vague allusions to some realities like fluorescent light, stained glass windows, mirage, rainbow, landscape, or horizon. But rather than representing something we can perceive in real space, those imageries tend to project Samarpan's attention in structural systems that govern the way of perception itself. His paintings quietly and elegantly remind us that our perception of reality is always coded in all sort of abstract formulations, and we need eyes that can see through it in order to grasp the authentic.

Samarpan celebrates color as emanation of light. Color are effective vocabularies available for the painter to compose his visual language of thoughts and feelings on canvas. Coloring with all of its complication is intensely managed by Samarpan to be his main vehicle of artistic expression laden with meaning. The rhythm of the proportionally related rectangular fields, and the alternation of color values between light and dark, corresponds to emotionality. The harmonious yet full of nuances color spectrum, applied in fine gradation on the pictorial space, creates a serene, contemplative as well as vibrant atmosphere. In Samarpan's paintings, serenity finds a unique and pure strength.

The charm of Samarpan's paintings also emerges from the transparent and quiet space that seems to multiply and expand beyond the border of canvas. His paintings demonstrate a poetic, magical, moment of transition: a special moment when the heart of reality touched by the painter opens its layers and turns crystal clear in the horizon of conscience. The visual poetic reflects a subtle and authentic process to give meaning to the world that is increasingly losing its meaning, to transcend our contemporary world from its banal state, to spiritualize its material overweight.

In his thinking and his work, Samarpan blends religious sensibility and rational calculation. The result, amazingly, is an art of pure presence. Nowhere Else. A here without where.

by Arif Bagus Prasetyo