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Ranang Agung Sugihartono
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INDONESIA
ARTISTIC : International Journal of Creation and Innovation
Published by Institut Seni Indonesia Surakarta
ISSN : 27219445     EISSN : 27219321     DOI : https://doi.org/10.33153/artistic
Core Subject : Education, Art,
Arts Languange, Linguistic, Communication & Media
The publishing of "ARTISTIC: International Journal of Creation and Innovation" specializes within the focus and scope including: 1. Creative and conceptual thinking related to the practice of art works and creative problems (Artistic Creation Thought). 2. The results of artistic research in the fields of : a. Batik b. Keris c. Crafts d. Karawitan e. Pedalangan (Puppetry) f. Dance g. Music h. Theater i. Painting j. Sculpture k. Graphics l. Interior Design m. Stage Design n. Visual Communication Design o. Product Design p. Television q. Film r. Photography s. Animation t. Games u. Visual Effects, and v. other arts. 3. New insights about the practice of art, resulting from the creative process. 4. New knowledge generated from the practice of art and artwork produced. 5. Values and meanings of novelty produced in the creation of art works, or studies of innovation in art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
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Search results for , issue "Vol. 6 No. 2 (2025)" : 5 Documents clear
FRAGMENTS WITHIN FRAGMENTS: DISTANCING THROUGH THE PANGLINGAN PRINCIPLE IN PAINTING PRACTICE Alamsyah, Tamara Maharani
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i2.7124

Abstract

The creation of "Fragments within Fragments" originates from an analysis of the Mooi Indie phenomenon, which perceives the East Indies from a perspective of distance. This phenomenon illustrates how artworks from that era established a disparity between reality and its representation. In an era of easy and ubiquitous image production, manipulation that results in the alienation of experience frequently transpires unconsciously. Real objects and experiences are supplanted by images regarded as representations of reality. In this setting, art serves as a medium to depict images and their forms that are perceived illusorily. Through the panglingan (Sudjoko, 1992) of initially representative photographic images, blurring is created to distinguish the image from its representative elements. This process establishes a distance between subject and object, intensifying a sense of alienation between the image and its observer. This work fosters reflection on individuals' perceptions and experiences of objects in a digital era saturated with images that merely represent fragments of authentic experience by positioning the subject at a distance and inducing a sense of alienation through blurring.
LELAYU : A SYMBOLIC REPRESENTATION OF FLOWER PORTRAITS Permatasari, Agnes Indah; Rizki Akhmad Zaelani Harry; Muksin, Muksin
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i2.7152

Abstract

Lelayu is a painting series consisting of six works. This art seeks to transcend stereotypes associated with beauty. In this instance, perception can ultimately establish a stereotype for evaluation, particularly in the realm of beauty, which often involves an exaggerated impression of imperfection—resulting in the designation of ugliness—within the framework of withering. The presence of beauty stereotypes motivates our work. The painting method, employing a symbolic representational approach, serves as a conduit to perception, both presuming that perception consists of sensory impressions that are invariably interpreted directly. Flowers serve as a defining symbol of beauty and are the subject matter of this work. The symbolic representation of flowers ultimately embodies beauty through the depiction of withered flowers. The flower is depicted as a subject on the canvas, creating a portrait format that evolves from the still life impression, serving as an evaluation of the stereotypical perception that arises between the appreciators and the artwork. The symbolism of solitary, wilting flowers in the landscape underscores the notion that beauty is not represented solely in perfection, but also in imperfection. The wilted flowers ultimately symbolize the news of death, rendering the journey towards wilting and death as a form of beauty.
DECISIVE MOMENT IN PERFORMING ART PHOTOGRAPHY: BETWEEN AESTHETIC SENSE AND CREATIVE PRACTICE Jauhari, Jauhari; Marianto, M. Dwi; Irwandi, Irwandi
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i2.7173

Abstract

This creative research investigates photographic artworks by referring to Henri Cartier-Bresson's concept of the Decisive Moment. This artistic research aims to create a body of performing arts photography that transcends mere documentation, offering both aesthetic and reflective significance to spontaneously occurring sublime moments. The employed methodology is artistic research characterized by a conceptual framework, visual exploration, and art practices. The resultant work comprises a collection of documented photographs of dance performances captured during the World Dance Day event at Teater Besar ISI Surakarta, Taman Budaya Jawa Tengah, and Pura Mangkunegaran, which encapsulate peak emotional moments, body gestures, and the interplay of space and light, both intuitively and reflectively. This study is grounded in Gilles Deleuze's theory of sublime situations and M. Dwi Marianto's aesthetic insights, which inform the interpretation of artistic moments. The study's findings suggest that the Decisive Moment approach can enhance the documentation of the performing arts by providing a more deeper layer of visual interpretation. This research recommends an in-depth exploration of the interplay between artistic intuition and aesthetic awareness in the creation of performing arts photography.
EXPLORING AUDIOVISUAL DISSONANCE IN PRACTICE-BASED FILMMAKING: REPRESENTING DILEMMA IN BENDERA PUTIH Utami, Citra Dewi; Arifianto, Budi Dwi
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i2.7222

Abstract

Bendera Putih (2023), a short fiction film that strategically employs audiovisual dissonance to represent a profound dilemma, was produced in Yogyakarta as part of a community-based film initiative funded by the Yogyakarta City Cultural Service's Special Fund and was officially screened at the 2024 JAFF. Adopting a practice-based approach, this study investigates how the deliberate juxtaposition of visual and auditory elements crafts narrative ambiguity and intense emotional tension. Drawing on theories of cinematic dissonance, narrative disruption, and experiential learning, the article reflects on how asynchronous audio-visual pairings challenge audience expectations and provoke complex ethical and moral reflections. The socio-cultural context of the Yogyakarta community, known for upholding the value of "guyub rukun," critically informs the analysis of these creative decisions, illustrating how the local context shapes both the storytelling approach and the film's reception. The findings contribute to the discourse on alternative narratives in Southeast Asian independent cinema, underscoring the capacity of practice-based research to illuminate the affective and ethical dimensions of filmmaking.
AN AUTO-ETHNOGRAPHY REFLECTION ON WEAWING: A PHILOSOPHICAL ACCOUNT OF LIVED EXPERIENCES Apau, Edward
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 2 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i2.7687

Abstract

Hand-weaving is often perceived as time-consuming and tedious due to its labour-intensive preparatory processes, leading to declining interest in the practice. However, weaving offers insights that extend beyond technical execution, providing profound opportunities for philosophical reflection and self-realisation. This auto-ethnographic, studio-based study explores weaving as a metaphor for human experience, drawing connections between the preparatory stages of weaving and the shaping of personal growth. The findings reveal that hand-weaving transcends the physical interlacement of warp and weft, embodying a process of self-development, resilience, and reflective practice. While acknowledging the challenges associated with manual weaving, the study argues for its continued relevance, not merely as a fabric manufacturing technique, but as a medium for cultivating self-awareness and creativity. It recommends that weaving education should emphasise experiential engagement and self-discovery, rather than focusing solely on technical proficiency or theoretical instruction

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