Year of Birth
Country of Birth
Nadya Jiwa works with images in various states of stasis that are then transformed into a distinctive aesthetic language. She initiates a cycle of images derived from printed matter or broadcast, retracing and reworking forms through strokes of the pencil or brushstrokes in paint. What remain on the surfaces she works on are apparitions of gestural impressions, identities of those represented obscured. At times, that which is depicted in the work are more clearly identifiable akin to source material for photography, but in other cases, only shadows which come from free associations encountered throug ...
Khayal / Chimeric imagines a conceptual subtitling of sorts in meaning and ownership of images imagined by our collective consciousness. Jiwa oftentimes activates, as a departing point, popular images from the realm of the virtual or digital. These images may not necessarily be so warm in its presence to its viewer, as it relates to actual causalities or the stimulation of the conscious mind, but as one explores the rather darker, more imaginative aspects of our residual collective memory, certain shades begin to surface.
Throughout these series of works, she presents images of ghosts. There exists a relationship between these embodiments of superstitions, the more metaphysical natures related to these beings, as well as specters as imagery in and of itself. Mysticism and its relata is on one hand commonplace in Indonesia, forming a sort of essential element to the social structure of its populace and its daily cycles of existence. Justice returns, then, as a form of natural circumstances, with its darker circumstances counterbalancing the self into existence as counterpart. It is as if fate others over its own course ...
Khayal / Chimeric then becomes an issue to the alignment of how images originate from the imagination. Encouraged by anxiety as a driving force, the two become closer to each other. ‘Seeing’ becomes much close to ‘making’ as the act of imagining blurs the imaginary into proximity with reality and what is false simultaneously.
Yacobus Ari R., Research, ROH
Nadya Jiwa (b. 1994, Braunschweig, Germany. Lives and works in Bandung, Indonesia) precipitates impressions as well as images that form in her work. Consuming information, human nature is presented in conjunction with a certain composition of reality through thin movements and strokes that may at once be derived from more cognitive considerations, while departing from the intuition.
Symbolism is deftly interweaved in Jiwa’s paintings and drawings, in an attempt to distill the cacophony of interactions, information exchange, as well as the continual sophistication of the external world today. It is as if she attempts to share a certain sensibility of personal knowledge and impression that approaches a spiritual consideration. Impressions that are at once clear and yet uncanny. Impressions of truth that seem devoid of meaning and linger.