Handiwirman paints without a particular concept in mind, thereby removing any referential nuances. Instead he reacts and explores the work plainly through visualizing 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 is known for his beautiful and moving portrayals of objects that do not make any visual sense but are still profoundly poetic and fascinating. This particular work resembles a surrealistic still-life, a foam figure seated on a plastic chair.
What preoccupies the artist is the concept of creating, and the fundamental principles of aesthetics. "From the execution of these works, paintings of the Apa-apanya dong? Exhibition, Handiwirman then found a substantial way of thinking in his process of creating, especially dealing with the mimetic purpose in realistic painting. According to him, the tradition of realist painting, as a matter of face, has been strongly generated by an aesthetic interest that is not objective by any means. When a painter is asked to portray still-life objects on a canvas, he/she - consciously or not - is actually asked to follow the logic of two dimensional portrayals, which is strongly restricted by the scale and feature of painting as medium. Therefore, it could be said, the beauty shone from a landscape painting actually never reflects the beauty of a real landscape." (Agung Hujatnikajennong, "The Spectre in a Painting" in Apa-apanya dong?, Nadi Gallery, Jakarta 2004, exhibition catalogue, p.26).
Having begun with 3-dimensional works, the artist attempts to locate his objects onto a 2-dimensional format. In the present lot, the volume and depth that are reduced on the canvas create strategic shadow play made clearer against basic planes of colour. His chosen method of painting facilitates a unique visual dialogue between the viewer and the artist.