Ari Bayuaji (b. 1975) is an Indonesian artist who moved to Canada in 2005. Dividing his time between Montreal and Bali, the artist is known for his installation work that transforms found and ready-made objects sourced from around the world. His works can be found in the collections of La Fondation Agnès B. in Paris, the Coral Triangle Center in Bali, the Montreal Museum of Fine Arts, and the Musée national des beaux-arts du Québec amongst others. His work has been exhibited in international solo exhibitions including Warin Lab Contemporary in Bangkok (2022), The Esplanade – Theatres on The Bay in Singapore (2014 and 2019), Nunu Fine Art in Taipei (2018 and 2021), Parkhaus im Malkastenpark in Düsseldorf (2018) and through residencies with the Agnès B. Foundation in Sainte-Alvère (2017), Kunsthal Rotterdam (2017) and Redbase Foundation in Jogjakarta (2016). His Weaving the Ocean series is slated for upcoming solo shows at the Nanyang Academy of Fine Arts in Singapore, Mizuma Gallery in Singapore, Bega Valley Regional Gallery of New South Wales, Redbase Gallery in Sydney, Art Jog in Jogiakarta, Projet Casa and Pierre-François Ouellette art contemporain in Montreal. 

 

On  Weaving the Ocean (2020-ongoing):

 

This series transforms the jetsam of plastic ropes disentangled from the roots of mangrove trees along the coast of Indonesia into hauntingly beautiful tapestries inspired by the rich textile culture of the artist’s homeland. 

 

Aesthetically engaging, Bayuaji’s tapestries are the result of a creative salvage and upcycling process that saw the artist and locally recruited assistants scour the shoreline of Bali in order to collect and clean colorful plastic ropes that washed up on shore, and then unravel them into fine threads. In collaboration with a traditional Balinese weaving workshop, Bayuaji designs and creates unique textile pieces in an environmentally conscious way that also provides financial security to local crafts persons and economies that were negatively impacted by the global pandemic. Bayuaji’s equally stunning sculptural practice also draws upon the detritus of the ocean as source material – including ropes, minerals and other elements that wash up on shore.