Domestic Distraction Painting

Mohammad Taufiq has for over 20 years enjoyed a career as a visual artist, illustrator and designer and is well known by the pronunciation of his initials in Indonesian, Emte – read em-tey, rather than empty, as it would sound in English. Indeed Emte’s extensive CV is the antithesis of empty. His practice as a visual artist may only take up part of his studio work, but since 2012 he has been consistently exhibiting, gaining increasing recognition for his natural flair and attention to detail. Born in 1979 in Jakarta, the middle child of Javanese-Sundanese parents, Emte grew up with the support of his white collar working father and housewife mother who recognised his artistic abilities early on. Like many contemporary artists in Indonesia Emte was drawn to comics and spent his teenage years illustrating for his favourite magazines of the time. Mastering the art of drawing caricatures and street scenes, at the age of 20 Emte had his work exhibited in the National Comic and Animation Exhibition held at the National Gallery of Indonesia in 1999. With a successful commercial career as an illustrator, Emte comes to his visual art practice with a freedom to explore and experiment and a willingness to make mistakes in order to extend his skill in a way that challenges both his hand and mind. Using watercolour as a medium demands a considered and somewhat meditative approach from an artist. It is vulnerable and unforgiving, the pace of brush strokes and time taken between strokes affecting the outcome. Even with significant technical skill, the results don’t always match the artist’s intention, which is why watercolour-beside acrylic is Emte’s preferred medium. Interested in capturing the atmosphere and mood of a scene whether private or public, Emte’s most recent work conveys those everyday moments missed in the hustle and bustle of modern life. Work included in the exhibition continues a theme begun in 2015 exploring domestic spaces. Kitchen sinks, food preparation and what is left on your plate after a big meal are familiar scenes, and yet it is the daily rituals of life referred to in these works that most fascinates. Things and spaces between people are discussed by their absence, the subjects of the scene no longer present. The unwashed dishes left behind in the Domestic distraction series give meaning to the mundane, referencing both the hurried pace of life and our preferencing of other activities.