HOMO LUDENS: The Surreal Worlds of Riki Antoni Valdo Manullang and Fandi Angga Saputra

Primo Marella Gallery is pleased to present the new group exhibition HOMO LUDENS. The Surreal Worlds of Riki Antoni, Valdo Manullang and Fandi Angga Saputra.

Inspired by the concept of Homo ludens, theorized by historian and cultural critic Johan Huizinga - who stated that play is not just a distraction but a fundamental element of culture itself - Riki Antoni, Valdo Manullang and Fandi Angga Saputra use their unique visual languages to explore how the playful spirit of childhood shapes human experience, creativity and the foundations of society.

As Huizinga observed, play not only precedes culture but is also a fundamental and indispensable element of it, capable of profoundly influencing the birth and development of societies, arts, religions and politics.

Together, the three Indonesian artists offer a complementary yet distinct exploration of the Homo ludens within each of us. Through their art, they emphasize the importance of preserving the playful and imaginative elements of our childhood as we navigate the complexities of adult life.

Riki Antoni (1977, Indonesia) is known for his distinctive pop-surrealist aesthetic, rooted in the idea that play is the purest form of creative expression and human curiosity. Openly inspired by Huizinga's theory, his works place the child at the core of artistic discourse: a symbol of innocence, exploration and boundless wonder. Antoni's figures, often distinguished by large eyes that convey curiosity and introspection, inhabit worlds that mix elements of reality and fantasy.

“Through the figure of a child with his sparkling eyes I feel honesty, innocence, and hope that should be our main principles as human beings, has a sign of meaning that is unconditionally implied”, explains the artist.

Using a pastel palette of delicate tones, Antoni paints figures that seem to come from a parallel or dystopian universe. Often depicted with alien or fantastic features, they are placed in settings that combine natural elements, animals, anthropomorphic creatures and bizarre details that recall dreamlike worlds. The boundaries between human and animal, natural and unnatural, dissolve.

The scenes depicted in The Source of a Smile and Invincible, for example, are populated by exotic plants, colorful flowers and fantastic creatures. In these surreal visions, a bear with a mask and a skateboard, a creature with sunglasses and a giant fish appear as superheroes, benevolent and silent guardians who offer wisdom and protection to the children in the paintings, accompanying them on their journey of growing up.

The work La Voyage is emblematic of this journey. A majestic dog, a symbol of loyalty, a fox, a symbol of cunning, a hedgehog, a symbol of protection, and a guinea fowl, a symbol of perseverance, accompany the main character on his journey, which is not only physical but also symbolic and inner, and in which each animal is associated with a part of the protagonist's soul. The almost ethereal appearance of the child's eyes evokes a sense of innocence, but also of deep knowledge, as if he were a traveler in unknown and fantastic worlds, in symbiosis with the nature that surrounds him.

Antoni's works often question the contrast between the idealized and pure world of childhood and the complex and ambiguous world of adulthood. The works The Rich’s Power and Habitation Rescue fit into this confrontation. In both, the central figures represent an opposition between the childlike figure and adult sophistication. The childlike appearance is juxtaposed with adult clothes that create surreal caricatures of gentlemen or leaders. What do these businessmen care about? One is surrounded by fish, the other is surrounded by both marine and terrestrial flora and fauna, and is holding a tentacled creature. The concept of “Habitation Rescue” refers to the importance of caring for and protecting all forms of life.

As the artist explains, “It is not easy to create a beautiful and clean environment, but if every individual works together then natural beauty will no longer be just a dream”, emphasizing the importance of the struggle for nature's survival and the urgency of preserving the continuity of life for the next generation.

Fandi Angga Saputra (1996, Indonesia) also brings a deep connection with nature to his paintings. His work is deeply rooted in his personal memory and vivid childhood memories of the rural village where he grew up, which allowed him to have an intense and direct relationship with nature.

In his surrealist paintings, rendered in fresh, vibrant colors, Saputra brings to light an endangered world of unspoiled nature, slow rhythms and the surprise one feels when exploring the world through the eyes of a child. Flora and fauna take on distorted and fantastic forms and imaginary creatures populate wonderful landscapes that seem to come from a dream or simply from the mind of a child who perceives the magic of the world around him.

In this sense, Saputra nostalgically celebrates the simple joys of childhood, exploring nature, feeling the grass under one’s feet, marveling at the intricate details of plants and animals. Over time, increasing industrial development, lack of green spaces, modern life and the destruction of nature have caused these memories to fade. Through his art, Saputra seeks to rekindle these memories, inviting us to reconnect with nature and rediscover the sense of wonder that comes from observing the natural world with a child's eyes.

In Guided by Wisdom, for example, a human figure appears with large, lively eyes - typical of Saputra's visual language - expressing a combination of innocence and wisdom. The figure's face is immersed in an environment rich in organic elements such as mushrooms, leaves and aquatic creatures, which merge directly with the protagonist's body and clothing, suggesting a deep integration with nature. The title suggests that the subject is following an inner or ancestral guide, symbolically represented by the natural elements that surround and embrace him.

Fandi's compositions are very luminous and the use of warm colours and delicate nuances gives the works a mystical aura. The way the details flow and intertwine creates a sense of movement and connection between the main subjects and the world around them.

The painting Takir takes its title from a traditional Javanese dish that has a unique way of being served. Instead of bowls, takir, namely containers made of banana leaves folded into a square, are commonly used to hold food. In this painting, Saputra depicts another child figure inside a takir, partially hidden under a layer of fantastical elements such as mushrooms and small sea creatures. The figure's large, reflective eyes peer out from beneath this organic crown, suggesting that wisdom and knowledge come from a deep connection with the earth and its creatures. The title, which thus refers to the concept of a “container”, metaphorically alludes to the idea that the mind is a receptacle for experiences, memories and lessons from nature.

Instead, the painting Sawang Sinawang refers to a Javanese saying that means “Life is just looking and being looked at, so don't just look at what you see'“. This proverb invites us not to compare our own lives with those of others, as what appears beautiful or easy may not be so. Fandi uses this concept to explore themes of empathy and understanding: looking beyond appearances to develop a deeper view of reality. In the painting, an ethereal figure looks out at the viewer and is surrounded by luminous, hybrid and otherworldly creatures, symbolizing the wisdom that comes from carefully observing the world around us. The soft, ethereal quality of the cloud in the foreground seems to symbolize the fleeting but profound moments of clarity and wisdom that come from observing the world with childlike wonder. Like the proverb it is inspired by, this painting offers the opportunity to reflect on, or even identify with, the other, using this perspective as a learning tool.

The triad of “homines ludentes” is completed by Valdo Manullang (1990, Indonesia), whose works explore the theme of the human soul through innocent-looking childlike figures, creating where hyperrealism and surrealism merge.

Manullang stands out for his extraordinary hyper-realistic technique, expressed through a fascinating visual language imbued with symbolic depth. Through the skillful use of black and white, obtained with charcoal powder, and deep colors, achieved with oils and acrylics, the artist brings his imaginary worlds to life, where figures emerging from monochrome backgrounds are suspended in a dreamlike dimension.

“I believe we all want part of this beautiful nature, and this portrait is a series of beautiful soul that grows together in our life”, explains Manullang, capturing the essence of his artistic vision and approach to portraiture. Manullang invites us to see humanity as an integral part of nature, highlighting the deep connection between people and their environment.

Through his portraits, the artist explores the idea of collective growth, a shared journey that all souls make together in the great cycle of life. These “beautiful souls” are not just aesthetic representations, but symbols of hope, beauty and interconnection. For the artist, the portrait becomes a means of celebrating humanity's unity with nature, conveying the idea that our individual growth is intertwined and intimately connected to that of all that surrounds us.

Thanks to his country of origin, which has allowed him to absorb the richness of nature, the titles of his works often evoke images of butterflies and flowers from all over the world, recalling the delicacy and fragility of life itself. The children who populate his paintings represent the human spirit with its hopes and aspirations, making each work a window into the depths of our inner selves.

Star of The East and Take Care, Abel fit perfectly into Manullang's aesthetic, which combines hyper-realistic and visionary elements. In Star of the East, the central figure is a child with an innocent expression. The elaborate headdress combines geometric and symbolic motifs, adding a touch of the sacred to the composition. The “star” of the title is seen as a metaphor for the light that illuminates the path, for hope or spiritual knowledge. In this context, the figure seems to take on the role of a guide or guardian of ancient knowledge. In Take Care, Abel there is instead a direct exhortation, an invitation to take care of someone, the other, an evocation of the need to protect what is vulnerable, whether represented by the child or the cat, the human world or the animal world. An image that alludes both to the innocence of youth and to a broader reflection on humanity and the fragility and precariousness of life.

The concept of Homo ludens is thus a reminder to carry into adulthood: only by rediscovering the wonder of childhood we can rekindle our creativity and strengthen our understanding and care for the world around us.

According to Johan Huizinga, it is through play that human beings experience new possibilities, imagine alternative worlds and rewrite the rules of reality. This ability to manipulate rules and imagination is the foundation of all forms of artistic creativity and cultural innovation, and is at the heart of the work of Riki Antoni, Valdo Manullang and Fandi Angga Saputra.

Play, a liberating element, becomes a means of exploring new horizons and transforming the world into something meaningful.

Art becomes a form of play in which new rules can be established and alternative universes can be created.

Really to play, a man must play like a child   - Johan Huizinga, Homo Ludens, 1939*

*Johan Huizinga (1872 - 1945) was a Dutch historian and linguist. Published in 1938, in his book Homo ludens Huizinga developed the revolutionary idea that play is one of the fundamental and constitutive aspects of human culture. Contrary to the traditional view of play as an ancillary or marginal activity reserved for childhood or leisure, Huizinga argues that play not only precedes culture but is also a foundational and indispensable element of it.