Stomata

Synopsis

 

Stomata draws upon Bagus Pandega’s experiences during the COVID-19 pandemic where there was severe shortage of medical oxygen. In response, he researched into do-it-yourself methods to build his own oxygen concentrator machine.

 

The artist’s machine-building experience is translated into a work that contemplates the fear and desperation caused by the scarcity of a vital resource. Stomata are pores found in plant organs like leaves and stems that facilitate photosynthesis, a life-giving process that is conceptually echoed in the installation at the Concourse. Harnessing the medium of technology, the work is powered by oxygen, generated by a system that purifies air from the environment and biofeedback produced by sansevieria plants nestled within. A lightbox featuring X-ray scans of lungs alludes to the pervasive impact of the virus and collective anxiety over respiratory health.

 

The installation contemplates the impact of human actions, our relationship with our environment and the value of natural resources. The brief respite of lower pollution levels and cleaner air ended as the world climbed out of the pandemic and activities returned to destructive levels. Stomata reflects on the ramifications of man’s actions on nature and communities, and the precarious balance between progress and environmental preservation.

 

Held in conjunction with the exhibition, hear from the artist on the concept and creation process for this installation, and issues surrounding human-caused environmental change through In Conversation with Bagus Pandega.

 

Artist Information

 

Bagus Pandega

 

Working primarily through installation, the practice of Bagus Pandega (b.1985, Indonesia) often challenges pre-conditioned relationships between objects and viewer. Bagus employs devices and objects, and incorporates sound, light and movement to create modular electronic systems that explore the presence and impact of technology on our daily lives. He also works with natural materials like plants, utilising their biological properties to activate instruments and mechanical elements in his installations. Selected solo exhibitions include 〇 at ROH, Jakarta, Indonesia (2024) and A Pervasive Rhythm at Yamamoto Gendai, Tokyo, Japan (2018). His works have been presented in group exhibitions including Voice Against Reason at Museum MACAN, Jakarta, Indonesia (2023) and The 10th Asia Pacific Triennial in Brisbane, Australia (2021-22).
 

 

 

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