Bayu Widodo's practice, like that of many younger Indonesian artists, is foregrounded in social activism and commentary; he was instrumental in the establishment of a political printmakers' collective, and has also contributed to numerous community workshops and art spaces.
His spare yet engrossing works use the mediums of painting, woodcut and sculpture to configure ironic reflections on contemporary Indonesian society: "how the people live, about the environmental conditions, the problems of city life".
The subjects of Arie Dyanto's imposing portraits (which often include himself) are heavily tattooed, their air of studied nonchalance evoking the kind of hipster styling beloved by 'youth-oriented' advertising campaigns. (Borrowing further from such vernacular, past works by Dyanto have included ersatz lightboxes that ironically emulate illuminated outdoor advertising).
Dyanto's practice in media including wood-cut printing, painting, grafitti and murals, is firmly entrenched in an aesthetic of urban sub-culture and activism (he was also a founding member of Apotik Komik, a collective dedicated to "bringing back the term 'public space'" by taking art to the streets.
While such positions have, in international terms, become so familiar they're almost formulaic, they certainly constitute an increasingly dominant - and undeniably dynamic - aspect of Indonesia's art scene, with localised appropriations of western graffiti, street and protest art informing the work of many younger artists.
Dyanto's similarly inflected practice reflects such fusions, but is idiosyncratic and assured enough to potentially elevate it above the generic or merely modish.
Tellingly, the portrait form and its inherent accent on identity is unusually common in current Indonesian art; Dyanto's use of it seems genuinely revealing.
Co-opting Indonesian crafts and traditions such as embroidery and shadow puppet theatre into works heavily inflected with western comic-book culture, Nugroho's increasingly acclaimed, multifaceted practice attempts to analyse the complexities of his homeland's hierarchical, tradition-soaked culture in the face of increasing exposure to western popular culture and value systems.