Childhood memories have been the main subject of Arkiv’s art creation process and exploration for a very long time. Arkiv often took inspiration from things that evoke his childhood memories as his foundation of his body of work. His visual construction derived from Walt Disney cartoon character can be seen on Arkiv early painting. Bold and vibrant colors with smooth and flowing brushstroke creating a visually pleasing painting that resemble the quality of something that came out of a printing machine. Ever since Arkiv decided to embark on new exploration and left every portrayal of living things on his work for a spiritual and religious reason, he is fascinated on how liberated a child can be on every part of their life. Having time to observe his two years old son growth closely, Arkiv found new meanings on childhood memories and its relation to his creative and aesthetic process. Through his son’s scribble, drawings and ‘aesthetic’ mess using food, crayons, pen, ink and pencil color or using anything and any media that he can find. Arkiv saw an unparalleled beauty in a somewhat chaotic action from a child who doesn’t even know colors but still manages made a composition out of things that he can find. Arkiv realized how he has been longing to freely create paintings without any boundaries, but always lost within his own (boundaries) that he created along the process. Bound by traditional and scholar norm of how a composition should be and how a painting should look like is something that Arkiv been longing to break. Studied to be an Architect, Arkiv eyes and mind are trained to avoid chaos by planning every step of his work meticulously. This has been his work ethic for the past 10 years and translated into a well-structured body of work both visually and conceptually that can be seen in his painting in the past. Trying to change an old habit is not an easy task let alone trying to change something that has been your daily routine into something new need a few adjustments. These adjustments are something that we see in Arkiv’s work for the past 3 years. Experimenting with paint, medium and media has been Arkiv routine in his studio, playing with a new medium to fully understand paint viscosity, structure, texture, tint, and colors. Somewhere along in this experiment Arkiv experienced the liberty, freedom and also able to understand the boundaries that restrict him to go beyond the medium on his painting. An experience that expands Arkiv understanding on himself, his life, work, and creator.
Childhood memories is a vague, abstract and biased memento of reality once we lived in. Research shows that no adults are able to retrieve episodic memories from their childhood, especially from age under two until four years old1. As well as the period before the age of ten, adults retain fewer memories than expected2. Arkiv might be interpreting his juvenile memories as his early childhood memories. And this was one of the boundaries that kept him doing the same thing over and over again on his work. Thinking that every popular culture that he can remember on his early juvenile (or even might be his current visual influence at that time) period is something that made him what he is today and believing part of his early childhood. But seeing his son daily life he saw something that he couldn’t even remember how he was back then. His son had no reference on colors, doesn’t have any favorite cartoon characters but can make something that visually pleasing out of nothing. While he has been recalling on every bit of his childhood memories on his work but never been able to match the feeling when he saw his son scribble when he finishes with his work. Arkiv has tried to delve into his childhood memories for so long, and now on this new series, he tried not to recall anything in his creative process. And try to sink in the process without relying too much on how it will come out or what will come out of it. Struggling with the tendencies of composing beauty and structuring visual references, Arkiv mimics his son by working with a large number of canvases instead of one. He moved from one to another, trying out different ways to put his paint and medium into a canvas. His meticulous and detail oriented energy was put into the painting experiment and creating stable water-based medium tint and colors before starting to work on canvas. This method gave him no room to think as he has to kept going from one canvas to another but plenty spaces for feeling and intuition to thrive in the process. Turn out this method gave him more memories of his early childhood activity, not by recalling them. But by sharing stories with families and close relatives.
Anachronic Resonance is a term to put Arkiv new work’s into a new perspectives as those who knew Arkiv since the very beginning talks a lot of childhood memories as part of his work and for those who knew him recently this will give a quick introduction on why he took a huge leap on his artistic career as an artist. There is no episodic period on how he constructed the memories on this new series, nor any significant moment, time or place on what trigger his memories. Everything in this show is somehow misplaced and also perfectly placed at the same time. From how he create structure, texture, paint viscosity, colors transparency, tint depth and layers on his work. Aside from vibrant color, texture, layer, viscosity and paint surface are the key quality of Arkiv’s new work. We get different experience regarding distance when seeing them. From afar, we got a visually beautiful orchestrated chaos of layers, objects, texture, and colors. As we got closer our eyes are drawn into a beautiful cluster of form and details of the different paint surface, layers and textures with varied transparency in between layers. Intricate details of each layer will appear when you get closer, you’ll start noticing that each small form and details have a huge role and contribution to the painting as a whole from another distance. As in how we look at our memories, distance determines how we perceive memories. For Arkiv this series is all about to be spontaneous to each memory that resonates a likely similar experience as he watches his son grow. Anachronic Resonance is also a past-present-future memento for Arkiv’s son childhood memories, his own memories of childhood memories and other person memories on Arkiv childhood memories. Everything is mixed with no definitive time order and structure, one can belong in the past, present or in the future depends on the distance with their childhood memories. There is always something personal yet commonly found relation of childhood memories from every person, a common ground that made us relate to each and every work that is shown in this room.