Syaiful Garibaldi continues his exploration of the microscopic world of fungi in his 10th solo exhibition, "In Between," at Taipei’s Mindset. His work, rooted in empirical observation, transcends into metaphysical ruminations conveyed in a realistic and lyrical manner. Garibaldi, with a Bachelor’s in Fine Arts from the Bandung Institute of Technology and a Master’s in Environmental Science from the University of Indonesia, fuses his scientific background with art to create a unique stylistic rendition of microorganisms. Garibaldi’s art is inspired by the dynamic networks of fungi and reflects a blend of realism and imagination exploring interconnected ecologies and the evocative power of these minuscule microorganisms, centering around the themes of decay and regeneration.
In Between is best experienced as an assemblage. Opulent in colours, idyllic in presentation and near otherworldliness in mood, the exhibition begins with a series of abstracted natural forms depicted on canvases and moves into solid installations of stratospheric heights. A warm, luscious earthy undertone permeates the space that is interrupted occasionally by the phantasmagoric smears of aquamarine, crimson and pastoral hues. The works on canvases in particular showcase this effect of a sanguine intensity that is achieved within this brilliant rendering of a multichromatic make-up. The protagonists of the compositions remain fungi as always, through observations both in its natural environment and also under a microscope. Preparatory sketches are made to inform the mind of an inexplicit composition, which is eventually translated to fluid, fluttering and effervescent imageries that are referential in the orientation of his precise brushstrokes and organic forms without being realistic. In brief, Garibaldi’s paintings are engaged in a constant negotiation between abstraction and figuration that are viewed through the lens of a variegated kaleidoscope that are as much about form and structure as they are about colour and texture.
“I was introduced to a brand of ink in Kyoto last year (2023) during my residency and I experimented with this series of works by adding the ink to the acrylic. Layering the two mediums, I discovered this ink has a unique character which accentuates the details of the composition.” (Email correspondences with Syaiful Garibaldi, 1th June 2024). This was the International Artist -in Residence program at Seishodo, THE ROOM, in Kyoto, Japan where Garibaldi researched and interacted with local communities and environ through the exploration of found specimens and new materials. The brand of ink as mentioned by the artist is Kyo No Oto’s, a brand based in Kyoto that specializes in making ink for fountain pens. Kyo no oto (京之音)’s inks are crafted according to traditional Japanese dyeing techniques, in a collection of hues that are inspired by the traditional Japanese colours used since the Heian era (794-1185). This particular Nurebairo ( 濡羽色) ink that is applied by Garibaldi has a name that is translated as the raven’s black, aptly describing the sheen of this hue that is evocative of the iridescent shine on a raven’s feathers. When Nurebairo is spread thinly on a surface, it reveals a blue undertone that adds much character to this shade, in the words of a reviewer of the ink “Kyo No Oto’s Nurebairo is a black ink that breaks the boring mold. This colour is not basic black, it is Black +” (Brad Dowdy, Kyo No Oto Nurebairo Ink Review, The Pen Addict.com). The inclusion of this ink, along with the colours he saw during the process of growing the mycelium leather resulted in the new, lighter hues that are added to the artist’s palette which were predominantly earthy and warm before. This is most apparent with In Between #1, #2 and #3, which see the colours of the compositions blend in luscious gradations, animating the subtle yet intensely crisp, graphic details whilst evoking the full splendor of nature – the constant evolving of the microorganisms that is in a permanent state of transience and transformation. In Between #1 specifically subsumes the viewer into its monumental yet delicate details and invites one to peer into this phantasmic wonderland with cosmic-like oversight. The work evokes an omniscient perspective; as if gazing from the vantage point of height, the viewer is taking in the full theatrics as one would be, in a front row seat.
The theatrics that are unfolding are not merely about the kaleidoscopic colours and patterns of the canvases as the show unravels with a grouping of digitally engraved works and three looming installations suspended from atop. When previously, Garibaldi was focused on the depictions of the intricate, interwoven and interconnected networks of imageries that allude to the minute yet dynamic cosmic energy of fungi; he now aspires to encapsulate the wonderous power of fungi that are showing us how one life begins even if another one ends. This status of being which is ever interchangeable and always in the process is merely a materiality that is in between numerous states of being that goes in cycle. With the present show, Garibaldi focuses on mycelium which is the vegetative structure of fungi that leads on to a keen investigation of mycelium composite that is durable enough to be a building material but is also biodegradable to lessen the material’s carbon foot print. It is this paradoxical duality of sustainability and ephemerality that fascinates the artist. For Garibaldi, in observing the making of the composite, realities run in parallel, states are unstable and in flux and this materiality of being could be visualized, objectified and experienced as he presents In Between.
Lentinus is a genus of fungi in the family of Polyporaceae belonging to a category of poroid fungi that form large fruiting bodies with pores or tubes on the underside. This is the genus of fungi that is studied by the artist for the show and presented as laser engraving on the surface crafted by the mycelium composite that displays a sturdy, leathery texture. This section of the exhibition which is entitled the Engraved series has the fungi individually portrayed, suspended in a barren composition in all its simplicity and authenticity, allowing the viewer an opportunity to behold the protagonist as they are. The mycelium composite surface here appears rugged and beaten with a strong, warm hue of earthy undertone that accentuates a sensory sensation that is evocative of something raw and organic but also primeval and mysterious. The room is dimmed to focus the beam of light on the works themselves which by manner of how they are crafted and by default of their inherent tactility, could be perceived both as a visual narrative as well as an object to be held and touch.
Dispersed in the space are also three installations that are suspended from the ceiling and completely made from mycelium composite. “Though I have made studies of mycelium in my other exhibitions, this is however, the first time that it is fully presented as a material and as an object in my art-making process. This unique, dual characteristics of durability and fragility in the material is what I want to highlight.” (Email correspondences with Syaiful Garibaldi, 1th June 2024). To achieve that, Garibaldi chooses to present the installations with a towering height that is imposing and calls to mind the strength of a pillar, yet instead of embedding them on the ground, he has decided to hang it from the ceiling which hinted at an unsettling and wobbling conditions of rootlessness. The basic form of this installation takes inspiration from the spinal structure of the mycelium yet another token of strength only to be rattled and perturbed as it hangs in the air, floating but curiously exuberating a sense of steadiness; this juxtaposition of contradictions is constantly at play with this series that is entitled Antara, translating to “in between” in Bahasa Indonesian.
Without Fungi, much of life would not exist, as mycologists tell us. It has been at least 400 million years since mycorrhizal fungi helped plants to colonise the Earth’s land, in consequence of a symbiotic relationship formed between fungi and plants. Living within the root systems of plants, metabolizing sugar from photosynthesis whilst helping them to access water and critical nutrients. Syaiful Garibaldi, the artist, however wants to remind us that we are an integral part in this equation. Coming from his master degree in Environmental Science which spurred him to consider the sustainability of his art practice motivated him to include the biodegradable mycelium composite in his works; he aspires to evoke a response in the beholder of rethinking the status quo within the current consumeristic economy which is in overdrive and the natural world around us. With the presentation of In Between, Syaiful Garibaldi has shown us way that we could be an active partaker of this multifaceted network, unlocking potentials and harnessing benefits in a sustainable manner by simply allowing the symbiotic relationships to flourish and to understand the workings of it in essence. The role of fungi as a decomposer in the many ecologies is the key to the unlocking of this power, he shows that although often growing in soil and with root like structure, fungi are really not plants. They are actually heterotrophs which are capable of eating other organisms, and in this regard, fungi are probably closer to animals then we think.
Ultimately, at the heart of his art is an equitable spirit that proposes a renewal of collaborative relationships within and in between species and ecologies and urges a rethinking of modes of coexistence whilst celebrating the importance of all who make up this vibrating and dynamic ensemble.
