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There’s something truly enchanting about the work of Indonesian artist John Martono. Swirls of hand-painted silk flow with delicate embroidery, drawing you into a dream-like world that feels both personal and boundless. His abstract creations aren’t just beautiful to look at, they’re heartfelt, soulful, and full of quiet emotion.
From now until June 17, John brings his unique vision to The Beaches with his inaugural exhibition at Harvey Galleries in Seaforth. Journey of Happiness offers a glimpse into his world, where fine art meets textile magic — a practice that’s slow, thoughtful, and deeply meditative.
We had the pleasure of chatting with John about childhood inspiration, silk as a storytelling medium, and the quiet joy that fuels his practice.
Were you creative as a child? When did your love of art begin, and how did it take shape?
As a child, I had a passion for drawing that knew no bounds. I'd draw on walls, pillows, blankets, pots, and furniture. My parents supported me by giving me blackboards, chalk, paper, pencils, markers, and watercolours. My father would take me to meet his artist friends or visit places like the zoo, rice fields, and harbour where I'd draw from life. I also joined inter-school art competitions early on. Throughout my school years, I was known as a young painter and won many awards.
Your work blends painting with hand embroidery on silk. What does your creative process look like from concept to completion?
My process began in the '90s with painting silk for dresses, and then that evolved into combining silk painting with embroidery in two-dimensional artworks. I start with painting on silk sheets, and then hand-embroider them, sometimes reapplying paint or adding more embroidery. The fabric guides me. Its character is unlike any other medium. I play with stroke thickness, direction, and repetition until the composition feels right.
How do you decide which elements to paint and which to embroider?
My process is dynamic. I might start with painting, then embroider, or vice versa. I plan where embroidery will enhance the design and choose colours accordingly. This layering creates a rich texture. I'm currently working with about 20 local women who help embroider my designs by hand.
“Each piece reflects the joy I find in creating. I believe that happiness in the process can be felt by others.” – John Martono
Silk is such a delicate medium. What draws you to it?
Its natural, flowing quality. It mimics the movement of water, where the softness of colour also allows for delicate transitions. I learned the technique traditionally and have adapted it to my own visual needs.
Are there traditional Indonesian textile techniques that influence your style?
Yes, I studied textile craft and was influenced by Tasikmalaya embroidery, batik, and ikat weaving. These traditions shaped my style, and I reinterpret them in contemporary ways — especially bordir embroidery.
Is there a philosophical narrative behind your abstract pieces?
For me, art is about self-reflection. I see the process as more important than the result. This is the Journey of Happiness. I use repetition and flowing lines as metaphors for the invisible and the unknown. I'm inspired by nature. Repeating natural forms is a meditative act for me and helps shape the composition. Embroidery becomes a question I ask over and over again — “What’s next?”
How do your personal experiences shape your art?
My journey has always been about exploration. From early tapestries and tie-dyes to international exhibitions in Japan, Korea, China, and Poland, each experience has broadened my vision and refined my artistic voice.
Where do you see your work in the Indonesian contemporary art scene?
I honestly never imagined it fitting into the contemporary scene. I focus on evolving my practice and finding innovation. I’ve also worked on urban art projects, murals, environmental art, interior design — even car and motorcycle designs. For me, art is inseparable from life.
What impact did your studies at ITB have on your practice?
My education in Textile Craft at ITB gave me a foundation in design philosophy and technical skill. It allowed me to innovate, using silky canvases, special textile paints, and embroidery in ways that reflect both tradition and personal growth.
What was a pivotal moment in your artistic career?
Transitioning from oil and watercolour to tapestry and silk painting was transformative. It allowed me to reimagine how textile art could exist in fine art contexts — framed, hung, and interpreted beyond fashion.
What can visitors expect from your exhibition at Harvey Galleries?
Each piece reflects the joy I find in creating. I believe that happiness in the process can be felt by others. I hope visitors leave feeling a bit lighter, maybe even happier.
Are there new techniques you're exploring in this body of work?
Yes, I’m using larger polyester threads alongside finer threads with different lustres. This creates new visual contrasts and a unique texture I’ve never used before.
What do you hope people feel when they see your work in person?
I want viewers to take their time. The embroidery and paint work together to create visual depth. As you shift your gaze from centre to side, new shapes and colours emerge. Everyone sees something different, based on their own memories and emotions.
Quick Picks with John Martono
- Ocean or mountains? Mountains
- Breakfast or dinner? Breakfast
- Coffee or tea? Coffee
- Dogs or cats? Cats
- Book or movie? Book
- Summer or winter? Summer
