Along with 5 fellow artists, Handiwirman formed Kelompok Seni Rupa Jendela (The Window Visual Art Group) whose exhibition Membuka Kemungkinan in 2000 suffered heavy criticism for their lack of aesthetic quality and energy in their works and for deviating from the norm of making works with a social bearing. This resistance to the ethic of creating artworks with its representational meaning is what makes Handiwirman's art interesting and appealing.
Handiwirman paints without a particular concept in mind, thereby removing any referential nuances. Instead he reacts and explores the work plainly through visualising it mentally. The form and shape of his subjects defy regular compositions and he experiments with positioning his subjects in a variety of appearances so that they stimulate different visual reactions. He treats all subjects with the same manner of importance. Having begun on 3-dimensional works, Handiwirman attempts to locate his objects onto a 2-dimensional format. In Nothing something nothing, the volume and depth that is reduced on the canvas, he recreates using strategic shadow play made clearer against basic planes of colour. The arrangement of the line pulling down the middle of the subject and the sporadic placements of the light white forms provokes the viewer's impression of the subject. His chosen method of painting facilitates a unique visual dialogue between the viewer and the artist.