For the past few years, Novali has been developing a series of abstract paintings on plexiglass and rotatable forms through a multifarious array of pigmentation and highly intricate, repetitive, and complex gestures. A single rotatable painting consists of stacks of rectangular or triangular bars, with each side depicting a unique painting, which could be turned and combined in dialogue with one another; while the transparent surface of plexiglass interplays with both light and shadow as essential mediums within and of themselves, generating a constant transmutation of compositions within compositions. Altogether, Novali creates a body of work with multiple forms and sides. In his exploration, Novali delves into tensions between uncertainty and what are perceived to be systematic structures. His preliminary editions to the series Abstract Logic have explored the multifaceted dialogues between probabilities and artificial variables, such as games of dice, and internet algorithms; while the more recent Mooi In(Die) series suggests an alternative twist to the prevalent notion of landscape.
Aditya Novali (b. 1978) is an artist based in Surakarta, Indonesia. He obtained academic trainings in both Architecture and Conceptual Design through his Bachelor’s and Postgraduate studies in 2002 and 2008, respectively in Parahyangan Catholic University, Indonesia; and Design Academy Eindhoven, The Netherlands. Novali’s work has been exhibited all over the world, some including The 9th Asia Pacific Triennial of Contemporary Art (APT9) (2018), QAGOMA, Brisbane, Australia; Diaspora: Exit, Exile, Exodus of Southeast Asia (2018), MAIIAM Contemporary Art Museum, Chiangmai, Thailand; Sunshower: Contemporary Art from Southeast Asia 1980s to Now (2017), Mori Art Museum and The National Art Center, Tokyo, Japan; Age of Hope, Biennale Jogja XIV – Equator #4 (2017), Jogja National Museum, Yogyakarta, Indonesia; Imaginary Synonym (2016), Tokyo Wonder Site, Tokyo, Japan.