Aharimu as an Artist

What’s the story behind your art journey, and how did you discover your niche?

My journey started when I was little—I loved doodling, and my family let me explore freely. Over time, I took courses, tried different mediums, and eventually studied fine arts. But I truly found my niche in Bali.

I’ve always been drawn to Southeast and East Asian traditional art, where there’s no background, perspective, or shading—like Wayang, where figures exist in negative space. Bali introduced me to similar patterns, especially the mantra rerejahan above Balinese doors.

That influence led me to remove identity, gender, and expression from my figures. There are no faces, no labels—just forms existing in their own space.

 

From canvas to skin, you’ve explored various art mediums. Which project has been your favorite so far, and why?

I think everything has a good side and a bad side. There’s a difference between canvas and skin.

With canvas, even if it’s a commission, it’s a dialogue between you and yourself. If it turns out bad, only you can judge it. But skin is more organic—you ask the other person, What do you like? What other tattoos do you have? Where do you want it? What’s your style? Everything connects to their mood and personality.

I see tattooing as a collaboration. If I direct them too much, it might lose its personal touch. So, there’s always a balance, a bit of compromise, to make sure it truly feels like theirs.

What’s the story behind ‘Figure A,’ and which piece is the closest to your heart? 

The Backbend Series—at the end of the exhibition corridor, you’ll find paintings with calmer blue tones. One of them, Table of Clouds, feels the most personal to me. It expresses both strength and gentleness in a single gesture. I also used my favorite color—various shades of blue—creating a monochrome-like feeling.

As for Figure A, the name comes from the term often used in textbooks to present an example. Here, Figure A represents how I see figures. Many artists explore the concept of figures, but Figure A is my version—my perspective. Oh, and the ‘A’ also stands for Adine… hahaha.

What’s the most unusual way you find inspiration, especially for the Figure A pieces with their unconventional techniques and raw authenticity? — mau dikasih gambar weird inspo

I love observing textures in Rural area. For example, if you walk down the small road near Ruci Space, you’ll see walls with stains, layers of color clashing, and revealing what’s underneath—unexpected compositions right by the roadside. I notice all these little details.

One of my friends once asked, “Why are you always so content with small things?” And I just said, “Because I find funny things in small things.”

If you had to describe your artistic identity in one sentence, what would it be?

Funny. A sense of humor—I think that’s the key to everything. It’s not always obvious, but most of the time, I create things that make me laugh.

 

Where do you see Aharimu in five years?

I don’t know—just around, hopefully everywhere. But still around. I just had an exhibition, learned tattooing, and within a month, I opened my own studio at the end of January. So in five years? Probably just keeping going and staying around.

 

As someone who’s very artsy, how would you describe SASSH in three words?

Sweet, fluffy, and soft. Soft like pillow-like soft, like feels like wearing a blanket, seriously.

 

The art industry is evolving faster than ever. How do you keep up with the fast-paced creative world while staying true to your unique style?

This is a tough question, as every artist faces this. For me, when a trend comes, I try to focus on its positive aspects rather than adopting it completely. I also try to understand why something is in or out of style—it’s helpful for growth. But in the end, your artwork should be something you love, as that will keep it true to yourself. Still, you have to consider the commercial side. Finding a balance between these factors is key.