Christie's /Nov 25, 2012
€16,114.42 - €24,171.63
Artworks in Arcadja62
Some works of M IrfanExtracted between 62 works in the catalog of Arcadja
Auction: Sotheby's -Apr 6, 2014 - Hong KongLot number: 294
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294 M. Irfan B. 1972 PENJELAJAH SAMUDRA (THE SEA EXPLORERS) Signed, stamped with a monogram of the artist and dated 2012 Acrylic on canvas 200 by 300 cm.; 78 3/4 by 118 in. Estimate 140,000 - 220,000 HKD Print The work is in good condition overall, as is the canvas, which is clear and taut. Light wear and handling is evident around the edges of the painting but visible only upon close observation. Examination under ultraviolet light reveals no sign of restoration. Framed.
Auction: Christie's -Nov 24, 2013 - Hong KongLot number: 473
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Lot Description M. Irfan (B. 1972) Natural Balancing (Train Series) signed and dated 'Irfan 2008-2009' (lower left) acrylic and oil on canvas 155 x 300 cm. (61 x 118 1/2 in). Painted in 2008-2009 伊凡 自然平衡 (火车系列) 压克力 油彩 画布 2008-2009年作 签名︰Irfan Provenance Sotheby's Hong Kong, 4 October 2010, Lot 70 Private Collection, Indonesia View Lot Notes > Lot Notes Born and raised in West Sumatra, M. Irfan, like many fellow-artists from his birthplace, decided to pursue his studies in art in Yogyakarta, Central Java. There, he was a member of the Indonesian collective, the Jendela Group for a short period of time. In the past few years, Irfan has prioritized the creation of detailed depictions of bridges, railroad tracks, locomotives and airplanes. The manufactured subjects that are lacking in human touch or emotion are somehow able to successfully portray larger complex themes of motion or stasis and reunion or separation. Both Natural Balancing (Train Series) (Lot 473) and Midnight Delivery #2 (Lot 474), two of the more iconic works from M. Irfan's on-going body of works that take locomotives and railway tracks as pictorial subjects, are imbued with Irfan's personal philosophies and principles in life. The locomotive and its journey is known to have fascinated Irfan and the artist uses this subject to symbolise one's hopes and dreams, arriving and departing from one's life, similar to that of the locomotive arriving at and departing from a train station. Irfan successfully translates this very simple fact of life into something deep and contemplative. His vividly realistic representation exudes a level of verisimilitude that awes his viewers. The precision in his paintings is achieved through years of intense visual study of locomotives and railways. The extreme attention to detail and large scale of the painting captures the viewer's attention, to the extent that the viewer feels a part of the work. This allows the viewer to further contemplate Irfan's symbolic meaning and inherent message of the locomotive and its journey. The artist also intentionally gives his viewers an element of surprise through the incorporation of floating numbers and shapes that Irfan painted in both paintings, as this is not a common practice of a realistic painter. It is through Irfan's paintings that one is able to discover and appreciate the structural beauty of the monumental locomotive. His precise rendering of the structure causes the viewer to feel transported to the actual scene, with the speed and the sound of the locomotive confronting you, as though reminding the viewers of their reliance on technology and rapid transportation in the world today. The use of a monochromatic colour scheme of Midnight Delivery #2 creates a sense of stasis amidst the fast movement of the locomotive, while Natural Balancing (Train Series) portrays a scene that is real to life and picturesque, attesting to M. Irfan's mastery in depicting detailed renditions of massive structures.
Auction: Christie's -May 26, 2013 - Hong KongLot number: 175
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M. Irfan (b. 1972) A Cruce Salus (From the Cross comes Salvation) signed with artist's monogram and dated 'IRFAN 2011' (lower right) acrylic on canvas 155 x 235 cm. (61 x 92 1/2 in.) Painted in 2011 Born and raised in West Sumatra, M. Irfan, like many fellow-artists from his birthplace, decided to pursuit studies in art in Yogyakarta, Central Java. There, he was briefly a member of the Indonesian collective, the Jendela Group. M. Irfan always imbues his works with a highly personal philosophy, thinking and principles in life. In A Cruce Salus (From the Cross comes Salvation) (Lot 175), the locomotive and its journey symbolises a fact of life that fascinates and intrigues M. Irfan. The locomotive speaks of our expectations, hopes and dreams and the journey tells us the fact that these expectations, hopes and dreams come and go away. Irfan successfully translates this very simple fact of life into something deep and contemplative. His highly realistic representation exudes a level of verisimilitude that awes his viewers. The precision and his painstaking rendition that he honed through years of intense visual study of locomotives, railway and tracks captures the viewers' attention, giving them the overwhelming details they did not observe beforehand. The floating phrases M. Irfan painted on the locomotives gives an element of surprise to the viewers as it is not a common practise of a realistic painter. This further grabs viewer's attention and in fact, the phrases provokes viewer's mind and lead them to contemplate further the inherent philosophical message of the work. Although The Beautiful Day Since Yesterday (Lot 176) is still set in a deep contemplative mode, the work itself brings hope and optimism to the humanity. The railways are rendered infinite, and in a way giving us a sense of uncertainty. However Irfan ascertains the viewers with his bright hues and formidable steel structure to support the infinite railway and instead of pessimism and anxiety, The Beautiful Day Since Yesterday exudes positive energy of optimism and the sense of hope. Just like in A Cruce Salus (From the Cross comes Salvation), M. Irfan uses the locomotives in The Beautiful Day Since Yesterday to symbolise one's hopes and dreams. With repetitive locomotive figures on the background together with the symbolism of railway and the steel structure, the work hence speaks of a hopeful future, a reminder to deteriorating humanity, a panacea to the lost soul.
Auction: Christie's -Nov 25, 2012 - Hong KongLot number: 452
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M. IRFAN (Indonesian, B. 1972) Ora et Labora (Pray and Labour) signed and dated 'Irfan 2010' (lower right) mixed media on canvas 175 x 350 cm. (68 7?8 x 137 3?4 in.) Painted in 2010 Private Collection, Indonesia Born in West Sumatra, the ethnic Minangkabau homeland, M. Irfan, like other key members of the Jendela Group which he is a part of, pursued art education in Yogyakarta in Central Java, graduating from the Indonesian Institute of Arts (ISI) Yogyakarta in 1993. Ora Et Labora (Prayer and Labour) (Lot 452) is one of the most iconic works from his ongoing body of paintings that take locomotives and railway tracks as pictorial subjects. For Irfan, the locomotive and its journey hold deep symbolic significance, speaking of arrival and departure and the accompanying dreams of leaving and returning. His locomotives denote expectations, hopes and dreams. Through the Latin title, Irfan makes reference to the Christian monastic practice and belief of the compatibility of working and praying. Irfan sees the same belief reflected amongst the vast working class of developing Indonesia. The sole locomotive powering through the darkness signifies hope, and perhaps identifies a destination, an end-point to which praying and working brings one. Irfan had undertaken a period of intense visual study of locomotives, railway tracks, stations and rail tunnels before embarking on this present body of works. The assiduous background study he has done allows him to render his locomotives in great detail. Painted on a relatively large scale, they awe the viewer with their precise, real to life details. Many of his works reveal an openness of the landscape, either relatively sparse or cloaked in darkness, focusing viewers' attention to the journey and the symbolic significance of the locomotives and railway tracks themselves. Tunnel (Lot 453) is a seemingly enigmatic take on the common expression 'light at the end of the tunnel'. In Irfan's painted world, reality often exists without a context. The tunnel in itself is a metaphor and a complete pictorial scheme, without the need for reference beyond itself. In both Tunnel as well as Ora Et Labora (Prayer and Labour), the artist juxtaposes the potential for movement in time and space denoted by the locomotive and the railway track with a stasis achieved by the use of a monochromatic colour scheme.
Auction: Larasati -Nov 26, 2011 - BaliLot number: 15
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M. Irfan Black Iron Head 2009 mixed media on canvas 200 x 300 cm signed and dated (lower right), inscribed (on the reverse) HK$ 250,000 - 400,000 US$ 32,000 - 51,200 Exhibition: "The Grass Looks Greener Where You Water It" - Indonesian Contemporary Art Showcase at Grand Palais, Champs - Elysees, France, 18 - 22 March 2010. Illustrated on the exhibition catalogue, p. 146 - 147 "Recognizing what we have done in the past is a recognition of ourselves. By conducting a dialogue with our past, we are searching how to go forward." - Kiyoko Takeda In his latest canvases, M. Irfan often presents elongated figures of straight and solid rail lines cutting a long and desolated landscape. Blending in with the surrounding silence, it appears as if the railroads are united with nature awaiting the presence of a speeding train rushing and pounding; the time when their presence becomes meaningful as they are no longer an inanimate object, lying helplessly in the calmness of the landscape. Not only the railways, the recent works of Irfan also depict figures of a running train tracking its way toward a predetermined goal. As appeared in the present lot, Irfan displays with a fluent realistic approach a figure of a moving steam locomotive speeding, breaking the dusk, with a burst of smoke coming from the chimney at the head of the black train. Using trains or railways as objects of his canvases can be attributed to his nostalgic episode as a person from West Sumatra. It is known that since the Dutch occupancy in Indonesia, in the 1890s railroad constructions were built in West Sumatra transporting mining products by using locomotives, called by local people as "Mak Itam", connecting several cities passing through Bukittinggi, Irfan's hometown. The emergence of numeric locomotive production codes, "Big Mountain Express" and "1818" on the present lot seemingly depicts Irfan's anxiety over the history that should not be forgotten. These codes that are scattered along on the canvas convey historical records that occur during our journey, be it quietness, excitement, sadness, or happiness. The locomotive, as the head of the train that pushes and pulls the carriages, symbolizes our brain as central element to treasure the experiences and move towards our goals. Through this present lot, one may interpret that the artist wishes to communicate that histories are important assets to equip us to travel the journeys towards our future.