Alexander Sebastianus Indonesian, b. 1995
Di’antara — Sedimentary Relations, 2025
Installation, stainless steel, electrical cords, blood, rattan, musa acuminata leaf, sand debris, documents and photographs, stone fragment, oil painting and red thread
'B.1995 E Massachutes College of Art and Design The same ethos unfolds on a larger scale in Di’antara — Sedimentary Relations, an installation conceived as an assemblage of objects, images,...
"B.1995 E Massachutes College of Art and Design
The same ethos unfolds on a larger scale in Di’antara — Sedimentary Relations, an installation conceived as an assemblage of objects, images, and materials across a plateau of stainless steel tiles. In Deleuze’s sense , this is where objects and fragments enter into relation, folding into each other as partial perspectives. These assemblages do not collapse into autobiography or identity politics. Instead, they ask: how does belonging emerge through matter, relation, and repetition? Drawing on phenomenology of perception and neo-materialist thought, Sebastianus traces an in-between condition — di antara semua dan segalanya — between past and future, intimacy and vastness, the actual and the concurrent. What emerges is a cartography of sediments. Bloodlines and plants, letters and mantras, tattoos and stones are where the self is reframed as a woven network in flux. For Sebastianus, archaeology is animation. Memory is staged as repetition, haunting, and return, with fiber as its enduring vessel."
The same ethos unfolds on a larger scale in Di’antara — Sedimentary Relations, an installation conceived as an assemblage of objects, images, and materials across a plateau of stainless steel tiles. In Deleuze’s sense , this is where objects and fragments enter into relation, folding into each other as partial perspectives. These assemblages do not collapse into autobiography or identity politics. Instead, they ask: how does belonging emerge through matter, relation, and repetition? Drawing on phenomenology of perception and neo-materialist thought, Sebastianus traces an in-between condition — di antara semua dan segalanya — between past and future, intimacy and vastness, the actual and the concurrent. What emerges is a cartography of sediments. Bloodlines and plants, letters and mantras, tattoos and stones are where the self is reframed as a woven network in flux. For Sebastianus, archaeology is animation. Memory is staged as repetition, haunting, and return, with fiber as its enduring vessel."
