Pop art

artwork by I. Giardina

Pop art International expressionism


In the annals of Italozazen’s artistic journey, the years from 2014 to 2016 stand as a transformative chapter, marked by a profound exploration of Indonesian landscapes and cultures. This period ushered in a new artistic phase, one that transcended borders, both geographical and conceptual, and ventured into the realm of international expressionism.

As an artist with a foundation in philosophy and postgraduate studies in social science, Italozazen embarked on a voyage that seamlessly blended art, politics, and anthropology. It was a journey fueled by the intellectual currents of his academic pursuits, and it found its nexus in the heart of Indonesia.

Drawing inspiration from his early experiences in the 1980s, where studies in Raja Yoga took him on annual pilgrimages to India, and subsequent journeys to Indonesia in the 1990s, the artist’s travels in 2016 birthed a tangible series of artworks. These creations were not just expressions of artistic prowess; they were a testament to the evolving dialogue between cultures, ideologies, and economies.

At its core, this artistic phase was a meticulous exploration of the interplay between media, popular culture, and the arts and crafts produced in places like Indonesia—a rich tapestry that found its way into Australian homes and hearts. There was a palpable sense of connection between Italozazen and the artists of Ubud in Bali, a connection that transcended the boundaries of language and geography.

In the narrow alleys and bustling markets of Ubud, Italozazen discovered a treasure trove of creativity. The small craft producing setups became his sanctuaries, and the myriad of artistic expressions became his muse. He carefully curated a selection of their produce, a vivid collection that embodied the spirit of Indonesia, and sent these treasures back to the Australian shores.

But Italozazen’s vision transcended the confines of mere consumption. It was an endeavor to celebrate international relations through the prism of trade between neighboring countries. These pieces of miniature guitars, textiles, intricate carvings of animals, and enigmatic face masks were not mere artifacts; they were vessels of cross-cultural exchange, symbols of unity amidst diversity.

Incorporating these treasures into his variable constructions, Italozazen wove a narrative of connection and collaboration. Each artwork became a testimony to the vibrant interplay of global cultures, a harmonious dance of traditions, beliefs, and aspirations.

As an art historian, one cannot help but draw parallels between Italozazen’s work during this period and the philosophical and social inquiries that have shaped his academic pursuits. It is a testament to the artist’s ability to bridge the chasm between theory and practice, philosophy and art, politics and culture. In his international expressionism phase, Italozazen painted not just with pigments and canvases but with the vibrant threads of human connection and the tapestry of cross-cultural understanding.

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