Creating in solitude under the Parisian sky
By Nabila Giovanna W

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Tara Kasenda here.

Photograph of Tara Kasenda painting in situ at Galerie Virginie Louvet. Image courtesy of the artist.

Could you talk about your background? And at what point in your life did you decide to pursue a career in art?

Formally, I studied fine arts at Bandung Institute of Technology (ITB), majoring in painting and then I began my Master of Fine Arts degree in Transdisciplinary New Media from Paris College of Art in 2018.

I always knew that I wanted to be an artist. However, in my teenage years, the idea of being an artist seemed too far to reach. Back then, I thought becoming a graphic designer or illustrator might be a better option. It was in my first year at ITB when I was sure that my true passion was art. It was then that I made a firm decision to pursue a career as an artist.

Could you share how you have maintained your practice after graduation? What are the important factors that spurred you on? And how do you find inspiration in creating your artwork?

It has not been easy to maintain my practice, and it still remains so now. I think consistency is key in maintaining anything, especially in art. It is important to keep the fire burning no matter what life throws at you.

But at the end of the day, so many things can go wrong. There are criticisms, rejections, self-doubt, and people disappointing you… but the love I have for my work, the fulfillment it brings me when my vision comes to fruition, and the knowledge that I’m doing this for myself and no one else is the most magical feeling. This is what keeps me going.

“But at the end of the day, so many things can go wrong. There are criticisms, rejections, self-doubt, and people disappointing you… but the love I have for my work, the fulfillment it brings me when my vision comes to fruition, and the knowledge that I’m doing this for myself and no one else is the most magical feeling. This is what keeps me going. ”

For me, inspiration comes when I visit new places, exchanging thoughts with friends and lately, in my solitude, as I’ve become more spiritual.

Could you give us a glimpse of what your day is like as an artist? What kind of routine do you follow to keep your creativity going?

I am one of those people who cannot function without a strict routine and order. First of all, I am not a morning person at all, so I take my time to slowly rise from my sleep. How much I sleep also determines the tone of the day. In the summertime, I can wake up later than usual and work from midday until the sun sets around 9 to 10pm. This would be the best and optimal time of the year to paint because my work requires plenty of natural sunlight.

But now, as we are approaching winter, I try to paint as soon and as efficiently as possible before the sun disappears around 4.30 to 5pm. On top of this schedule, I also create rules that I absolutely must follow in my studio. They consist of working steps, from preparing sketches to mixing paints, to painting and finishing it off by washing my brushes. When I am disciplined, that is when I feel most creative.

“When I am disciplined, that is when I feel most creative.”

Food and music must also be present at all times to keep my mood at ease throughout the process. There are several playlists I have made since 2015 that I listen to over and over and for snacks, lately, brioche is my main option.

Tara Kasenda, 'A Lighter Shade of Pale', 2013, image transfer on silicone sealant installation - 12 pieces, variable dimensions. Presented at Tara Kasenda's first solo exhibition, TAKSA at Ark Galerie Jakarta, 2013. Image courtesy of the artist.

Your first solo show was ‘Taksa’ in 2013 at Ark Galerie, Jakarta. How did the opportunity for the show come about? What was the process like and were there any challenges in preparing for it?

The curator of the show, Mitha Budhyarto, approached me when she heard about my silicone sheets installation that I was preparing for my final project at ITB. After a few visits and discussions, she offered me the chance to hold a double solo exhibition with Ardi Gunawan. It was extremely challenging because at the same time I had to complete my bachelor’s degree that went along with the art piece. I agreed to Mitha’s offer because the artworks were already in the making and I did not want them to go to waste after graduation.

On top of that, the silicone installation was the most technically challenging work I have ever created. As I dealt with creating and installing the work, I had to also face critiques from my professors regarding my thesis in order to graduate and obtain my degree. It was a crazy couple of years.

You moved to Paris to pursue a Master of Fine Arts degree in Transdisciplinary New Media at Paris College of Art. What made you decide to pursue your MFA in Paris? And how has living and studying in Paris affected your current body of work?

At the time I decided to continue my studies, I was at a low point in life and starting to lose touch with my art. I knew I had to change my environment and find a place that truly resonates with what I am, what I like, and what I want. Growing up with a mother who also loves all things pastel-coloured and a painting teacher who loves the impressionists, living in Paris seemed like an ideal choice.

Fast forward to 2018, after applying to several universities in Europe, I was accepted and granted a scholarship to attend Paris College of Art. I took the opportunity and this decision changed my life forever and by extension, my work. Everything started to make sense and I would often describe living in Paris as returning to the mothership. I found the meaning and conviction of my colours in the Parisian sky, how nature in all of its constant and ever-changing state is bound to its creator. The more we contemplate, the more it reminds us that something bigger than us exists. This revelation sets the foundation for all my future creations.

Tara Kasenda, (L-R) 'Odayeri', 73 x 60cm; 'Place de la Concorde', 100 x 81cm; 'Bois de Boulogne', 100 x 81cm; 2020, oil on canvas. Artworks produced during Tara Kasenda's residency at La Richardière. Image courtesy of the artist.

You completed a residency at La Richardière in Lhomme, France. How did your experience there shape you as an artist?

I went on my residency in 2020, in the middle of COVID-19 pandemic. At that time, being stuck at home for a prolonged period drove me to seek a new place. La Richardière was a truly special place where Nathalie Grenier and Marc Dupont, both artists, did not only provide the most beautiful place to create in the French countryside but most importantly showed us residents how they live their lives. It was an example to live by.

They were so in tune with their surroundings and they were very kind, passionate people that let all their creativity run free with the movement of nature. Their good energy and humility were contagious. It reminded me of how important those things are to create honest work. Throughout my residency, I learned how to live in the moment and to let life take the lead in my creative flow. When I face difficulties in my work, my mind would often bring back those memories and they still bring me joy. Nathalie and I remain good friends, and our friendship definitely adds value to who I am as an artist now.

Tara Kasenda, 'Sous Les Cumulus Humilis', 2019, 28.2 m² 9 wall video projection at the National Gallery of Indonesia. Image courtesy of the artist (photo: Noel Pendawa).

In an interview with Manual, you stated that the colours in your sky paintings are based on your research of Parisian sky colours. What drives you to incorporate research and mathematical formulae into the paintings?

As an artist who is also an academic, research is in my nature. It has become an instinctual thing to do before starting a new project. During my studies in Paris, we had a coding class as part of the Master of Fine Arts in Transdisciplinary New Media. I am not a mathematician by any means, but of course, numbers are essential in computer programming. I tried to make sense of my colours in this course by giving them a concrete framework that could also act as an anchor for the paintings to come. This concept also relates to the duality that exists in my works. My paintings have both abstract and emotional undertones to them, but I create a contradictory aspect by inserting logic via numbers and codes.

With the computer programme I created, I was able to map out nine main colours of the Parisian sky from hundreds of sky pictures I took in a span of one year. Of course, these colours are not absolute, but knowing that I can use them as references for my works is a solid starting point.

Previously you have made artwork from silicone sealant sheets. Are there any other materials that you would like to explore in the future?

Yes, I love exploring other materials, although I treat all of my other works as an extension of my paintings. To me, exploration is similar to cooking, another activity that I love.

I would love to work with resin or glass as these materials possess qualities that could emanate light, which I believe is ideal to transform my paintings into three-dimensional objects. Now it is a matter of finding the right kitchen! So we’ll see.

Who has been a mentor or an important artistic influence? And why?

My childhood painting teacher Mrs Roelijati was my very first artistic influence. She planted the seed in my life which slowly blossomed into a passion for oil painting and western art history. I was also lucky to have found friends in university, both in Bandung and Paris who are like-minded. They have made a significant impact on the way my creative process has evolved.

Filipa Cruz, my professor and mentor in my master’s programme is still involved in my current work. She knows the evolution of my practice since I came to Paris by heart, and we continue to brainstorm together today. Due to her familiarity with my work, she wrote my last solo exhibition’s curatorial text and perhaps will do more in the future. My partner John Hamon is also my go-to person for advice because he offers me new perspectives as an experienced artist in Paris. Lastly, Claude Monet, whose work has inspired me since childhood.

What was one important piece of advice you were given?

Faire avancer!

There is no exact translation in English that carries the same nuance, but the closest meaning would be to keep moving forward. This advice comes from my partner who is also an artist and has given many new perspectives for my artistic practice.

Could you share your favourite art space or gallery in Indonesia and/or Paris? Why are you drawn to that space and what does it offer to you/your practice?

Museum MACAN and Wot Batu are my favourite art spaces in Indonesia, MACAN is the place to see the works of leading local and international contemporary artists, and I love Wot Batu for its peaceful ambience.

In Paris, there are too many to count, but on top of my list are Musée d’Orsay, for its rich collection of mainly French art from the 1800s to early 1900s, and Musée l’Orangerie for Monet’s giant water lily paintings in its oval room. Everytime I visit those places, it is similar to going on a religious journey. They also have great temporary exhibitions that usually feature contemporary artists whose work corresponds with their collection of impressionist works. For example, a few years ago, Musée l’Orangerie invited Ann Veronica Janssens to showcase her light installation that interprets Monet’s ‘Nympheas’, and it was sublime. Other than that, going to Musée Rodin, Petit Palais, and Louvre is always a good idea. I also enjoy going to openings at galleries such as Marian Goodman, Perrotin, and of course, Virginie Louvet. The list could go on and on!

‘Eternal Ephemeral’ at Galerie Virginie Louvet, View from Rue Penthièvre, 2021. Image courtesy of the artist.

Painting in situ at Galerie Virginie Louvet for 2023 solo exhibition, 2022. Image courtesy of the artist.

Could you share your upcoming projects and goals or hope that you wish to achieve in the future?

I will have my second solo exhibition ‘Superlight’ at Galerie Virginie Louvet in Paris next spring. The works and texts are still in progress, but I am excited to show how my work has journeyed into a more spiritual realm. Also, I painted a couple of paintings, including two of my biggest works, at the gallery for a month last summer. That was a special experience for me. For the curatorial aspects of my upcoming exhibition, I will work together again with my mentor Filipa.

I hope I can continue being an artist forever and have a proper place to create. My goal in the near future is to move to a new place near Paris with a spacious studio, so I can explore and create bigger works.

Click here to read our profile on Tara Kasenda.

This interview has been edited for length and clarity.