The fruit of his particular process in abstraction is a sense of beauty unrestricted and free of ideological, psychological, and political encumbrance. Ibrahim’s arrangement and juxtaposition of every stroke, line, unresolved shape or unfixed contour is an exploration, and a means by which to achieve the painting’s final composition. Ibrahim’s paintings are often untitled, encouraging viewers to attach their own personal and subjective experiences to the pieces. This quality thus creates space for a unique and intimate engagement between the artwork and its spectator. Through his work, Ibrahim attempts to intervene with a burgeoning human experience that has severed the connection between people and objects, altering the collective conscious mind. For Ibrahim, a painted canvas does not indicate a final product—but rather presents the inception of a potential shared human experience.
About the Artist
Since receiving his fine arts degree, Ibrahim’s approach to painting has been rooted in characteristics of abstract expressionism—a visual language shared among many of his pupils such as the prolific Minang artists, Yunizar, Handiwirman Saputra, Yusra Martunus, and Zulkarnaini. Ibrahim’s method of painting is founded on an acute awareness of feeling; emotions experienced day-to-day, at home or at work, are integral to his creative decision-making. For Ibrahim, allowing emotions to direct his artistic approach is the most effective way to articulate both his inner and external self. Inspired by the works of abstract-expressionist pioneers Willem de Kooning (b.1904) and Jackson Pollock (b. 1912), Ibrahim pursues a creative process grounded in visceral instinct and spontaneity.
Ibrahim will be presenting his works at Gajah Gallery.