24.07.25 — 24.08.25

Melukis Rintik yang Menolak Kering

Solo exhibition by Ugo Untoro

The Sacrament of Rain: Painting Raindrop That Refuses to Dry

Within every raindrops that falls, there lies a promise: of renewal, of life that flows endlessly, and of steadfastness that refuses to fade. Thus it seems necessary that I titled this essay of Ugo Untoro’s solo exhibition: “The Sacrament of Rain: Painting Raindrop That Refuses to Dry”, more than just a title, it is a contemplative invitation born after several conversations with him. For Ugo, rain is a profound metaphor, a summoner of memories that recalls eternal cycle binding art and existence. Within it, we are invited to immerse into the paradox of rain with its persistent droplets—a vital, unending outpouring, battling against all sort of stagnation and spiritual drought.

Ugo Untoro, whom we know as more than just a painter, is a seeker. His journey is a thorough exploration for authenticity and meaning, a microcosm of timeless, universal human experience. He is an adventurer, who pursuit the sacred within the everyday, the eternal within the ephemeral. Therefore, this essay does not serve as a provider of a definite answer. Through this exploration, we expect to dive deep into the depths of Ugo’s mind, rooted in his daily life and life journey that continuously refuses to dry up, always seeking new sources from which his life may flow. The word “Sacrament” elevates the act of painting into the realm of ritual, implying deeper spiritual meaning beyond mere visual aesthetics. “Rain” symbolizes cleansing, renewal, and never ending stream of inspiration and life. Meanwhile, “Refuses to Dry” is a statement of an active retaliation against artistic stagnation or spiritual drought. This title seeks to mark the current phase of Ugo’s artistic practice in this exhibition, which is a search for replenishment and authenticity. This is an effort to keep on drenching his life canvas with fresh droplets of meaning, resisting complacency or settling into dryness.

Homecoming: The Cleansing Root of Memories

Ugo Untoro’s return to Purbalingga a while back, to his childhood hometown, was more than just physical relocation; it was an initiation. It was the first drop, the initial “drizzle” of the metaphorical rain that seemed to once again drench his soul and works. The reason behind his return was clear: his aging mother, who is struggling to walk, called him home to care for her. However, behind this tangible reason, lays a deeply personal need for healing after facing illness, he stated, a thirst that can only be quenched by the long forgotten roots. Inside his mother house, Ugo rediscovered strong anchors of memories. His old belongings, neatly stashed by his mother—“sarongs, books, a copper basin used for bathing me as a baby, also clay pots!” —were more than just inanimate items. They were fragments of memories, living pieces of the past that instantly awaken deep emotion: “I felt back at home again!”. These objects served as a channel that reconnecting him with his primal self, liberating him from the performative demands of Jogja’s art scene, which he temporarily left at that moment. This homecoming essentially turned into self-healing catalyst, some kind of recalibration.

Within one of our conversations, echoes Ugo’s question, “where should I come home?”, he elevated his physical homecoming into a deeper existential search, not just about identity but a more profound sense of loss. This question does not demand a single answer, invoking contemplation instead. In Purbalingga, far from the commotion of Jogja’s art scene, Ugo found a long lost peace. In Jogja, the intrinsic excitement of painting has been eroded by external pressure. This homecoming is a break, essential self-retreat, a “drying” from superficial matters that makes true inspiration streaming again. This self-retreat is a crucial drizzle of the “rain”, that initiated the vital replenishment process. Following the steps of his return, Ugo has subsequently rediscovered the red thread that connect him with his family artistic legacy. He reminisces about his grandfather, a dalang (puppet master), weaving those memories into the wayang series that he previously brought to life with his artworks. His younger brother, whom occupy a special place in his memories, not only can draw beautifully, but he also inherited the artistry of wayang drawing. Ugo himself, familiar with Indonesian folktale such as “Kancil Mencuri Timun” (The Mouse Deer and The Stolen Cucumber), has a unique perspective about wayang: “the best way to watch wayang is from behind.” He recalls his father who is quite vocal about wayang depiction when lacking in technical aspect. This demonstrates that Ugo’s background and knowledge about art principle, anatomy, philosophy of body gesture, shadow, and character has already taken shape from a young age, even from before he enter the formal art world, rooted on the tradition and critical observation within his own family.

Ugo’s return to Purbalingga marks, among other things, a shift in his method of painting and artistic philosophy, not entirely, but some works are presented in realist style! Principally, he always resisted having a fixed “style”, a resistance emphasized by the reaction of his friends in Yogyakarta, who screams, “dudu Ugo iki” (“this in not Ugo”) upon witnessing his realist painting. Ugo himself insists, “from the beginning, I have never been concerned with style.” His ideas flow and reacted towards situations instead of adhering to rigid plans. This is refusal to be trapped in a settled identity, a continuous action in “refusing to dry”. As Ugo declares, “I do not paint for anyone, I just paint as it is.” This statement is a manifesto. He implies that the “freedom” as usually perceived in the art world can actually become a different form of constraint, where artist may feel compelled to maintain a recognizable “style” to satisfy the market’s demand. Ugo’s return acts as catalyst, liberating him from these subtle pressures and allowing a more authentic creation method, one based on the appreciation of where he lived and his surroundings. This was a liberation from external expectation, a return to intrinsic motivation to create art. Ugo refused to “colonize” his old habit when he painted in his hometown, and this shift left a mark even after he return to Yogyakarta. His inspirations shifted towards simple objects in his mother’s house—the porch, the table, and the bedroom are some of the examples. However, this is not a rejection towards imagination; rather, it was a re-rooting. “It is not entirely raw or ‘as-is’ yet, for instance I still use imagination in picturing the floor as if it is flooded with water.”, he said. His imagination dances over the ordinaries, transforming the familiar into something that resonance in close range. The shift in the source of the imagination, previously from the external theme, towards the puddle of water, the bedroom, the books, the telephone as a deep but ordinary objects, exhibited a more complex and down-to-earth creativity. Through this I see the “drizzle” of everyday life becoming fertile ground for his artistic exploration.

During our talks, it was revealed that Ugo’s love for comic also shapes his view about narration and character. He delve into a spontaneous language of comics and characters from comic artists such as Ganes TH and Jan Mintaraga, primarily drawn on their powerful depiction of the human body, and Teguh Santosa, about the connection between the real and the supernatural. For him, “comics is like scenes in a movie, they teach us rhythm and have ability to keep us curious.” When he was asked whether his “life story” is similar to comic books, he answered, “we learn about adventures!”. So it is to be expected that his house, windows, doors and studio were built mimicking that of fantasy world, like a mansion or castle. Even when he admitted that he experienced sadness and misery, in reality, he avoided portraying sorrows directly, perhaps only allowing the feeling to subtly influence his work. In the world of film, he admires the works of director Tim Burton and Quentin Tarantino, because they exhibit interest in unpredictable sequence, unique with a strong visual. Ugo also reveals his work process: he starts painting in the morning until noon, as he is unable to paint at night. He is also incapable to work when it is quiet; he has to at least have some noise in the background, as he used to hear noises since early ages, he feels like he is infused with clear inspiration. He reminisces the time when he was in junior and senior high school, when he had already seen references from the works of social realist painter, S. Sudjono, which is raw in style and often containing text, that have stark distinction from the ‘Mooi Indie’ painter, Basuki Abdullah. This shows that he prefers a more raw and direct expression.

In this solo exhibition, Ugo showcases dozen of works, predominantly using oil paint on canvas as the medium. These works are mainly created in 2025 and display his courage in exploration. There is an exception for the work titled “Pieta Series”, made in 2024, that uses ballpoint on cigarette boxes, a choice of material that is out of the box and rich in meaning. Together with the other “Pieta Series”, made from oil paint on canvas, these works exhibit Ugo’s profound exploration of the theme of sacrifice, recontextualized to everyday settings, even to those perceived as disposable. There are various sizes for his work, but most of them are large, reaching 150 x 200 cm or 200 x 150 cm, implying his potential in making immersive and monumental composition. The vast canvas enables Ugo in creating deep spaces, fragmented perspective, or wide area of colour, that is designed to attract audience physically and emotionally. The presence of smaller works, such as “Bapak Telpon (Father on The Phone)” (60 x 80 cm) and “Tumpukan Lupa #03 (Stack of Forgotten Things #03)” (90 x 70 cm), offers a glimpse of intentional interplay between intimacy and holiness, one that have potential to shift the audience’s sense of closeness and involvement.

His titles also have many variation, including a wide array of spectrum, ranging from the deeply domestic, like “Bapak Telpon (Father on The Phone)”, “Di Atas Buffet (Above the Buffet)”, “Makan Pagi (Breakfast)” and “Teras Belakang (The Back Porch)” to those that have relation with nature and climate phenomenon such as “Di Tengah Hujan (In The Middle of The Rain)”, “Hujan Lagi (Raining Again)”, “Morning Rain and the Blind Man #02”, and “Tumpukan Hujan (A Pile of Rain)”. These titles, especially those that are related to rain, suggesting the use of pastel colour. Ugo also explicitly referencing western art history in his works, for example “Penunggang Kuda Arab Diserang Singa Setelah Eugene Delacroix (Arabian Horse Rider Attacked by Lion After Eugene Delacroix)” and “Potato Eater After Van Gogh”. This shows intertextual practice, where Ugo is involved in the legacy of western modern painting, possibly questioning the narations, reimagining them from contemporary or Indonesian point of view, or just simply celebrating those grand pieces through his own unique lens. The other titles, “Good Night…”, “Scream”, “Man in The Rain”, “Ternyata Bukan Pegasus (Turns Out It’s Not Pegasus)”, “Tumpukan Lupa #03 (Stack of Forgotten Things #03)” delve into the realm that is more abstract, introspective and rich in emotions. “Scream” directly awaken our memory of artist Edward Munch, suggesting the theme of existential anxiety, while “Ternyata Bukan Pegasus (Turns Out It’s Not Pegasus)” probably suggests a sense of disillusionment with mythical ideals or the subversion of a grand narrative.

In “Tiang Baru (New Pillar)”, 2023, that is stacked high, Ugo explores the process of anatomical evolution, physical strength, body transformation, resilience, and instantly built culture. He made a hole in the work and placed on top of ‘tumpak’ – a traditional structural base or structure. Ugo, as we know him, often works with various media, ranging from video to installation. When he returned to his hometown, he only painted objects that were available, felt as though those objects “calling” out to him. Those objects sprout organically as part of his spontaneous process, not as a planned subject. Ugo’s admirer perhaps frequently experiencing visual ‘drunk’ sensation, this can happen because sense of shape is an integral part of him. Through L’ASRI, an art school that he created, we can witness this “ideology of sense”. Ugo desires to revive the principal of spontaneous sketching, encouraging “painting on the spot” to embrace the heat, smell, the feel of afternoon and night, the quiet, the noise and others that can heightened one’s perceptive sensitivity. For him, painting is a full time job, where mind, heart, feeling and knowledge merge into one and engage directly with the medium. In one of our discussions, he stated that social realities, such as the issues of bansos (government aid) or crop failures in his hometown, unconsciously seep into his works. Perhaps this is manifested with dull colour, but Ugo insists that he does not intent to symbolizing. In the contrary, it is a kind of involvement that is deeply felt, an empathy towards emotional bonds in all sorts of social relationships in his hometown. Once again, that is not a blunt political commentary, but rather a resonance of the pulse of daily life that he witnesses. Ugo’s art is alive and fluid, materializing the essence of “The Rain That Refuses to Dry”, continuously upgrading itself from the most authentic sources.

At the core of Ugo Untoro’s works lies a set of principles that transcend mere technique and subject matter. He highlights line as the element that he most feels, masters, and enjoys – even surpassing the act of colouring. This focus on line represents a return to the fundamental artistic language, stripping away the superficial to reach an essence, similar to that sought in spiritual practice. It reflects an attention on structure, raw expression and more a primal artistic language. Accuracy of visual language is essential for him, not everything must be expressed in the form of painting, forcing it can results in failure. This indicates a radical fluidity in his attempt to approach what is called ‘art’. He also recalls the late artist, S. Teddy D, whom he regarded as having achieved a remarkable fluency in the discovery of line character, signalling his appreciation for mastery of this fundamental element.

Ugo is not just a visual artist; for me he is an intellectual, he admires modern painters, for instance: Paul Klee, Nashar and S. Sudjojono. He also thrilled to have learnt directly from the lecturers at FSR ISI Yogyakarta, whom he had only known through newspaper in the past, such as Aming Prayitno, Nyoman Gunarsa, Subroto SM, and Soedarso SP. He fondly recalls the playful Soedarso SP, who gave A to anybody who could sing “Stary Night” as a way to teach art history through knowing Van Gogh. The experience reflects how Ugo appreciate holistic and personal approach in art education. But what’s more crucial is his deep relationship with literature. His fondness to poem have existed since elementary school. He bought literature books of Chairil Anwar or Sutarji Calzoum Bachri, and even created his own poem when it was difficult to get his hand on those famous authors’ books in his hometown. He likes poem and literature that only uses “few words yet meaningful”, he stated, a preference that mirrors the depth of his thoughts. He discovered strong resonance from the of writer Omi Intan Naomi about her art biography, that according to him felt like reading himself. This artistic and literary influence is not merely an aesthetics preference, but an intellectual and spiritual companion in his journey, showing how different kinds of expression merge into one in his creative process. His homecoming intensifies his spiritual journey. Even if he admits that he is missing spiritual matter, this is not solely a shallow piety, but rather a sincere longing to delve into something primal. This spiritual journey, rooted in his return and ancestral ties, is presented as the deepest source of his creativity. “There is something incomplete between me and God and the universe”, he declared upon returning, implying state of eternal inquiry and acceptance of life’s inherent ambiguity. This “incomplete” aspect is interesting; he implies ongoing process, growth and refusal to become stagnant or dry. Perhaps this is where “sacrament” manifests, as artistic act becomes spiritual ritual, an ongoing engagement with what is within. Art, literature, and spirituality form a rich “puddle” for his imagination, making sure that the rain is everlasting.

The Rain That Reclaim Personal Space / Humanity

Related to his works’ title, Ugo admits that he can just leave it as “untitled”, nevertheless it is possible that the title comes up before or after completion. Title is essential for Ugo, especially in determining where the painting stands. This titling process comes automatically for him, and he does not favour titles that are overly verbal. At times, when creating, he might also be actively creating poem, it is as if the process floods him with inspiration, demonstrating how various artistic expression intertwined and flow naturally in him. Ugo Untoro’s philosophy, which is now been exposed, is a bold statement about artistic resilience and self-acceptance. He emphasizes the importance of finding strength through vulnerability, “we begin from what we have, and dare to express it!” This is his call to express one’s authentic self boldly, free from external trends. Ugo honestly admits if he is placed in the realm of contemporary art and has to state his intention clearly, he will not understand. “I paint, not decorate”, this strengthen his commitment to raw, unadorned expression, above superficial aesthetics or the urge to adapt with art historical category. Ugo stated, “I dissolve when I paint,” a profound expression of total surrender to creative process. He believes that painting endures because the vastness of our human side, and that humanity will never be abandoned. This relates to our conversation about the problem of alienation brought about by modernity, representation and the way to reclaim intimacy with nature and life, which according to Ugo, is about defending personal territory. Perhaps that is what he means with ‘gelut’ (duel) in the art of creating artwork. He highlights, “I don’t refuse industrialization, but a work of art is something that we experienced and it can’t be interfered with, even if it seems weak or imperfect, that is a personal territory.” In this personal space, for him exists a side of reflection, freedom, honesty and hope.

Ugo’s current exhibition reminds us of the romantic power in negating the artificiality of life, increasingly shaped by industrialization. Romanticism, as an artistic and philosophical movement born as a reaction towards “Enlightenment” rationalism and the effect of Industrial Revolution, emphasizes on emotion, individualism, glorification of history and nature, and also the beauty found in imperfection. Romantic Artist frequently search for intimacy and authenticity lost in the chaos of modernity. Ugo, moved by this spirit, seeks intimacy, not through a grand tragic imagery like Delacroix’s work during industrial revolution in Europe—painting such as “Liberty Leading the People”, depicting revolutionary spirit—but through aestheticization of daily life, rendered by a poetic force. This is a type of a grounded romanticism, one that finds the epic within the ordinary, the sacred within the profane. Through this poetic force, Ugo gives life to everyday objects, enabling them to appear with their own presence. This is possible because Ugo, as an artist, places himself in sublime state together with treasured objects of his life. The concept of “sublime” can be perceived in the context of Immanuel Kant’s philosophy, in which sublime is the experience that transcends rational understanding, awakens amazement and wonder, even a hint of fear, but ultimately uplifting the soul. For Ugo, simple objects such as porch, bowl, or puddle accentuation, through the process of “dissolution” and profound contemplation, were elevated to the level of sublime, becoming more than just representation, but manifestation and existential experience.

Using only its visual is not enough if we want to really appreciate Ugo’s work, it is imperative to consider the poetic force within the titles. Both may emerge simultaneously; at times, the title comes first, and at other times, the work itself does, showcasing the flexibility and depth of his creative process. These titles are more than just labels, but the gateway into deeper layers of meaning, akin to poetry, compact but rich of meaning. In the rain series—"Di Tengah Hujan” (In the Middle of the Rain), “Jalan Desa” (Village Road), “Hujan Lagi” (Rain Again), “Tumpukan Hujan” (Piles of Rain), “Morning Rain and The Blind Man #02”, and “Pagi Basah, Kamar Gelisah” (Wet Morning, Restless Room)—rain is explicitly positioned not as mere meteorological event, bur as an entity that is rich in significance. If we observe "Di Tengah Hujan” (In the Middle of the Rain), one can visualize Ugo observing the heavy downpour in front of his house, not with desperation but with acceptance, perhaps even purification. Its visual dominated by flowing brush strokes and pastel colour frequently mentioned by Ugo, creating melancholic yet calming atmosphere. Perhaps this is an image of Heraclitus’ pantha rei—everything flows and changes—and within that flow resides the existential truth. “Hujan Lagi” (Rain Again) can be described as a cycle of repetitions—an inevitable eternity—with more abstract visual, focusing on the texture of droplets on canvas surface, bringing back memory about Gaston Bachelard’s idea about water phenomenology as a substance that carries imagination. Furthermore, “Tumpukan Hujan” (Piles of Rain) signals accumulation, not just of water, but perhaps of memories, emotions, or experiences accumulated over time. By being visualized as layered colours and stacked shapes, it creates visual depth and density. Then “Pagi Basah, Kamar Gelisah” (Wet Morning, Restless Room) brings the rain into personal and intimate realm, evoking a mood that permeates into the private realm. We can visualize the image of dimly lit room, with damp morning light peeking through the window, creating restless shadows, perhaps with barely visible domestic objects, wrapped in muted colour palette, capturing the essence of deep emotional atmosphere. Meanwhile, “Morning Rain and The Blind Man #02” is a form of meditation about perception. How can a blind man “sees” the rain? Not with eyes, but rather using touch, sound, smell and sensation. The visual may focus on the texture, flowing set of lines, or even the absence of defined form, inviting audiences to feel the rain through other senses. It becomes deep phenomenological experience about how reality is built not only by vision, but by all the other senses and consciousness, and also rain!

In the “domestic” series (“Di Rumah Tetangga”, “Bapak Telpon”, “Di Atas Buffet”, “Makan Pagi”, “Teras Belakang”, “Gentong”, “Mangkok”), the titles serve as odes to the everyday, elevating the ordinary into the extraordinary using optical perspective created by unpredictable construction lines! “Bapak Telpon” can be read as a intimate portrait, capturing moment of vulnerability or warmth resides in a long distance communication, with visual focusing on a hand gesture or a subtle face expression, an image of sought-after intimacy amidst the chaos of modernity. “Di Atas Buffet” dan “Makan Pagi” might display inanimate objects brought to life, such as plates, glasses, leftovers that come through Ugo’s brush strokes transform into silent witnesses of daily ritual, full of unspoken narratives. The visual make uses of the large canvas to bring monumentality to these little objects and force the audience to contemplate their significance in this world. Similar to Jean-Baptiste-Siméon Chardin’s still life painting that elevates the dignity of everyday items. “Teras Belakang” becomes a transition space between private and public realm, a place to reflect and observe. One can imagine the visual that captures light and shadow dancing around on the terrace, with the rough wall texture or the floor that seems real, a liminal space that evokes introspection. “Gentong” and “Mangkok” are functional objects that Ugo magically transforms into subject of contemplation, perhaps by focusing on the shape, volume and rough but authentic texture, bringing memories about simplicity of village life and the beauty contained in utilitarianism.

Meanwhile in the “intertextual” series (“Penunggang Kuda Arab Diserang Singa Setelah Eugene Delacroix”, “Potato Eater After Van Gogh”, “Pieta Series”), Ugo is not merely painting, but also engaging in a dialogue with art history. “Penunggang Kuda Arab Diserang Singa Setelah Eugene Delacroix” is a reinterpretation of romantic painting full of drama and exotism. Ugo preserves Delacroix’s energy and movement while he adds his own signature raw and spontaneous touch, perhaps with figure distortion or more muted colour palette, commenting on the hidden colonialism or violence embedded in the romanticism of Europe. This is a visual deconstruction that questions power representation and “the Others”. “Potato Eater After Van Gogh” is a tribute to social realism and Van Gogh’s deep empathy for the working class. Ugo likely captures the essence of simplicity and honour in the form of raw visual, focusing on the soil texture and the working hand, evoking the social reality in his hometown. It is both a homage and contemporary commentary of a never-ending struggle.

The “Pieta Series”, comes up twice with different mediums: oil paint on canvas and ballpoint on cigarette boxes. “Pieta” is an icon of pain and sacrifice, a theme that has been widely explored by big artists ranging from Michelangelo to Rodin. The oil paint version is likely to be the more traditional approach but retain its expressiveness, with the bold brush stroke and profound colour to convey emotional weight. Yet the version of “Pieta Series” drawn by ballpoint on cigarette boxes is a radical statement. Visually, this work appears fragile and fragmented, with coarse texture of cigarette boxes clearly visible. Sharp, perhaps repetitive pen lines create the illusion of fragility and transience. It is a deconstruction of religious icon, placing universal misery into the most profane and disposable medium. This might be a sharp commentary about consumerism, waste, and how the sacred can be found, or even reduced, within the instant and materialistic nature of modern life. The visual will force audience to contemplate the distinct contrast between the lofty subject matter and lowly medium, a profound irony that challenge the boundary of aesthetic and contemporary morality. In the object work of “Tiang Baru” (2023), with towering and perforated construction, speaks to instant culture and human body. It is visually composed with stack of Indomie packs forming a monumental structure. This could be read as a critique of how instant food shapes both our body and culture, or perhaps a celebration for the body endurance amid the mass consumptions. The use of pastel colour might lend an ironic touch to the subject that is otherwise intensely “pop” and commercial, creating tension between gentle aesthetic and a piercing message about consumption and existence.

Lastly, in the “existential” works (“Scream”, “Man In The Rain”, “Good Night...”, “Ternyata Bukan Pegasus”, “Tumpukan Lupa #03”), these titles serve as window into the landscapes of Ugo’s mind. “Scream” might be a response for existential anxiety, not as a replica of Edward Munch, but as an authentic expression rooted in the spiritual restlessness, using distorted visual and intense colour, a manifestation from Angst Kierkegaardian. “Man in The Rain” can be perceived as a lonely figure, deep into contemplation or isolation, while visually focusing on silhouette and atmosphere, a depiction about human alienation within urban landscape or nature. “Good Night…” is an expression of farewell or the end-of-day that is dramatically revealed through the image of a row of covered cars surrounded by puddle of water, a trace left by a heavy rain. That daily picture suddenly transformed into a solid metaphor! Like a meditation on impermanence, tragedy and life cycle. “Ternyata Bukan Pegasus” perhaps show a disappointment towards idealism, a confession on reality that is often not as beautiful as fantasy, with the visual that presents an imperfect horse with the broken wings, an allegory about crumbling illusion. Meanwhile “Tumpukan Lupa #03” is a meditation of memories and the forgotten, perhaps visualized as blurred layers, hidden fragments or objects faintly emerging from the dark, an inner archaeology on the forgotten things, evoking memories about Henri Bergson’s idea about memories and narratives.

To Feel, To Experience, To Engage

Observing Ugo’s work takes us into an existential and phenomenology experience, while also brings us to reclaim our personal space just as it is. Phenomenology, as developed by Edmund Husserl and later interpreted by Maurice Merleau-Ponty, emphasizes on the importance of direct experience and how our consciousness creates reality. In Ugo’s context, this means his works invite us to not just merely see, but also to feel, experience and engage personally with the objects and themes he presents. This is an invitation to return to the authentic “life-world” (Lebenswelt), far from abstraction and objectification. Of course, this is all supported by the discipline of visual language mastery, gained from his long journey. This discipline reminds us of the thought of Zen masters who found freedom in a strict technical mastery, or even Nietzsche’s idea about “will to rule”, manifested through self-mastery and command of one’s medium. Ugo Untoro, through “Painting Raindrop That Refuses to Dry”, invites us to witness a unending journey. His works, like the rain itself, are the vital outpouring, ceaseless, refusing to be confined by expectation or definition, continuously upgrading himself through bold self-exploration and an unwavering commitment to “drizzles” of authentic experience. He is like a sacrament of process, a reminder that true art is about embracing risk, about constantly flowing, and about the courage that never dries up.

Yogyakarta, 15 July 2025
Sudjud Dartanto