Ydenn Ramersan
Born in1993, Jakarta. During school taken digital photo editing , vector graphics, drawing in Machiko Manga School then fine art for college portfolio in Tomato Art School.
2011: Continued with Graphic Design major in Lasalle College Jakarta.
2013: Followed by Illustration major on Fine Art track in Art Center College of Design, Pasadena, California.
Early works started with some mixed media, followed by Oil paint then digital & printmaking illustrations.
last updated January 25th 2024Latest Exhibitions
Art Jakarta 2023 November 17-19th :// JIExpo Kemayoran, Jakarta, Indonesia
Creart 2023 October 25-28th :// Catur Darma Hall - Menara Astra, Jakarta, Indonesia
ArtMoments 2023 August 18-20th :// Sheraton Grand Jakarta - Gandaria City, Jakarta, Indonesia
ArtMoments Bali 2023 June 23-25th :// InterContinental Bali Resort, Jimbaran, Bali
Art Jakarta 2023 August 26-28th :// JCC Senayan, Jakarta, Indonesia
ArtMoments 2022 November 4-7th :// Sheraton Grand Jakarta - Gandaria City, Jakarta, Indonesia
ArtMoments Online 2020 April 17-19th :// Online Exhibition
Art Jakarta 2019 August 30- September 1st :// JCC Senayan, Jakarta, Indonesia
Tomato Art School 12th Art Exhibition 2013 March 30-31st :// Hotel Grand Kemang, Jakarta
last updated January 25th 20242023
rut ion wanna dwell in
80 x 60 on 100 x 70 cm — Mixed Media — 2023 — 9 Editions
Of no longer adjusted to the dark, seeing light merely through a barrier, and drinking from the comfort of despair
rut ion wanna dwell in Prints Variation (left to right):
• No 1-3 has crisper dark & deepest blue • No 5-7 has balanced highlight to shadow ratio • No 8-9 has more visible street (background) details
the gold dust’s value is around the midtone’s. therefore with a spotlight, it has better contrast in 8-9. Without dedicated lighting, others brings the gold out better.
path of least resistance
38.5 x 40 on 70 x 50 cm — Screen Print on Claire Fontaine — 2023 — 15 Editions
a good friend is hard to find
42 x 29.6 on 57 x 38.2 cm — Cyanotype on 300 GSM Arches — 2023 — 9 Editions — #1 & #8 Sold
the vertical stripes on the image was a result of scanner
Of life's nocturnal hours, loneliness of ruminating in the wrong time, place or state of mind.
Prints Variations: Brightness
No 2-3 has lighter mid tones, brings out the blue • No 5-7 has balanced mid tones • No 8 has darker mid tones, more glow on the eyes
Prints Variations: Opacity
• No 2 has snow-like drops effect
• No 9 has misty watercolor opacity & hue closer to teal (greenish blue)
a good friend is hard to find (sunset)
42 x 29.6 on 54.3 x 35.9 cm — Red Candy toned Cyanotype on 300 GSM Arches — 2023 — Artist Proof (1 Edition)
the vertical stripes on the image was a result of scanner
a good friend is hard to find (midnight)
42 x 29.6 on 54.3 x 35.9 cm — Green Tea & Luwak Coffee toned Cyanotype on 300 GSM Arches — 2023 — Artist Proof (1 Edition)
cake had, cake eaten
20 x 20 on 30.5 x 40 cm — 2 Layers Soft Ground Etching — 2023 — 9 Editions
of hardships endured into reminiscence, remorse despite vices delighted in, and the want of it all.
print variation
• no 3-5 has saturated orange • no 6-8 falls in the middle • no 9 is the second darkest • no 2 has most shadows
cake had, cake eaten (aftershow)
20 x 20 on 30.5 x 40 cm — 2 Layers Soft Ground Etching — 2023 — Artist Proof
cake had, cake eaten (rehearsal)
20 x 20 cm — Soft Ground Etching — 2023 — Artist Proof
yeaa no
45.1 x 54.5 on 50.2 x 70.6 cm — Screenprint on Fabriano — 2023
of indifferences immovable barring unstoppable consequences.
9 editions
yeaa no (bloom)
Artist Proof
negative latency & flood request
100 x 120 cm — Oil on Canvas — 2023
of projections toward anywhere but the present, embracement or acceptance, and throttling of the mind.
2019
Vessel Series
Theseus Vessel
50 x 70 cm — Oil on canvas — 2019
In Plutarch's Life of Theseus, the ship of Theseus underwent constructions for wear and tear suffered in voyages the protagonists took, until no more of the earliest pieces remain, asking whether it's still the same ship as the original. Here it represents the many forms of life nurture, to which one accepts or rejects relative to one's nature before anything else.
The easel represents the creation of a person, the chemical structure on the wall is of dopamine’s; one of the chemicals responsible for happiness but also addiction in lack of moderation, and the Venetian mask were used in festivals to hide social status and identity, as this would be just about anyone. Together they symbolize determinism; the absence of free will due to how all events are determined by elements present through the merit of sheer coincidences.
Current Bearing
100 x 100 cm — Oil on canvas — 2019
of control of self-control. In many forms of meditations and mindfulness, detachment seemed to be a running theme, understandably as emotions can easily override the better part of us. So can however the rationalizing point of view, which not unlike science, tends to be seen as cold outlook because reality often is—like seeing the kindness of others as prejudicial biases instead of selflessness, maternal & paternal relationship as parent-offspring instincts or affection just as chemical reaction—and all to often can spring the trap of existential nihilism.
But when not seeing too close at times, even anger—petty as it might be—can be channeled for mental energy as long as permanent stress related conditions can be avoided. Or how even sadness can condiment the listening experience of some music.
The fishes partly modeled after piranha symbolize emotions as both can be chill on one second then snap the following, and though the protagonist here still surrounds himself with the former, he watches over them. The title current bearing doubles for tides navigation & bearing the present moment.
Cat O’ Nine
100 x 120 cm — Oil on Canvas — 2019
Cat o' nine tails is a multi-tailed whip used notably by royal navy for punishment but also for self-flagellation in different religious practices. In this analogy the duality represents the isolation of the outside world and how it favors the fortunate ones who happened to have been gifted biologically with relatively good looks, lineage, intelligence, wealth, physical prowess, and/or the opportunity to obtain them.
On the other hand however, the failure of compassion and hedonism shouldn't be too incomprehensible from the biological clock point of view. But even more appealing than self-betterment is the self-destructive retreat into one's shell, which is made easier by the increasingly immersive escapism.
Another reason for the title was because it's reminiscent of an old myth from different countries of how cats have nine lives, to match with the theme of broken people who has gone through or had something that takes a person out of a person, be it childhood trauma, mental disorders, or injustices.
While there have been some unfounded & exploited romanticization of mental illnesses and the suffering artist trope, there were regardless those who made something out of their first-person experiences. For that the bridge was added to symbolize something that the protagonist created for others who might be lost in the same stage.
DOSE
30 x 40 cm — Oil on Canvas — 2019
Too late to buy heaven, too early to live in the clouds, just in time for "what does it matter in a hundred years?"
Journey Series
Plato’s Delight
40 x 60 cm — Oil on Canvas — 2019
Of embarking on a new journey, where one's calibration isn't accurate enough to see blind positivities born of optimistic days and negativities of pessimistic ones for what they are and not get the judgments clouded.
Zeno’s Pathos
40 x 60 cm — Oil on Canvas - 2019
Of meeting between expectations and reality, the realization of one's wants, limitations and accepting necessary compromises where they don't intersect.
Sisyphean Solace
40 x 60 cm — Oil on Canvas - 2019
Of the meditative state of flow during the grind, but also the temptation to cut corners or giving up early.
Salomon’s Exchange
40 x 60 cm — Oil on Canvas - 2019
Of letting go to start the cycle anew, instead of resting on one's laurels or be paralyzed by past failures.
Night at Olvera St.
83 x 53 cm - Oil on Canvas - 2016
Untitled No.1
60 x 40 cm - Pencil & Charcoal on Toned Paper - 2017
Siblings
± ANSI C 17 x 22 in — CMYK Halftone Screenprint — 2016
Etching Study
Letter 11 x 8.5 in — Etching on Scratchboard — 2014
Pen Study 2
Ledger 11 x 17 in — Micron Pen & Gouache on Paper — 2015
Acrylic Study 3
Acrylic Study 1
Ledger 17 x 11 in — Acrylic on Acrylic Board — 2015
Ledger 17 x 11 in — Acrylic on Acrylic Board — 2015
Acrylic Ink Study 1 & 2
Ledger 17 x 11 in — Acrylic Ink on Drawing Paper — 2015
Glass Study 1 & 2
5 x 5 in — Acrylic on Glass — 2013