Since I’ve had the honour of working as a writer for NOW! Jakarta, I’ve been fortunate enough to receive invitations to the openings of art galleries, exhibitions and auctions. In many cases, Jakarta’s art scene comes hand-in-hand with the city’s social circles, with great art coming at a high price, of course. Whilst this particular experience of art, where Prosecco and Champagne are held in hand as high-end collectors browse the hottest exhibition, it doesn’t quite reflect the world of the artists themselves. That is certainly the case for Begok Oner, a street artist from Yogyakarta and the winner of the 13th UOB’s Most Promising Artist of the Year.
Begok’s murals on abandoned buildings in Yogyakarta is indeed quite the contrast: a form of art that instead of being enclosed for an exclusive few, is freely published on public concrete canvases, the ultimate democracy. From sprawling artwork adorning deserted buildings to intricate stencils hidden in alleyways, everyone who passes by can enjoy and marvel at their presence.
According to Maslow’s A Theory of Human Motivation (1943), for creative expression to flourish, all other tiers of needs—physiological (food, water), safety, belonging, and esteem or accomplishment—must first be satisfied. In other words, these needs must be met before one can create. However, I beg to differ. If adequate food, water, and rest were essential, art would never originate from prisons, ghettos, or internment camps. Yet, art has been born in whichever corners of the world, in the most beautiful or horrific moments of human existence. It is a right that is imbued in everyone’s veins to express who and what they are. And street art, specifically, is the most raw evidence that art will always be born despite the blessings or hardships the artist has endured– or perhaps because of them.
Street art can be described as folk art—by the people, for the people. In Indonesia, its growth has been closely intertwined with the country’s history. During the Indonesian War of Independence, graffiti ignited the people’s spirit to defend their freedom, with messages of struggle adorning city walls. This resurgence occurred again in 1998 during the Nationwide Reformation, when street art spread throughout cities, including Yogyakarta, expressing demands and criticisms aimed at those in power. Graffiti is an art form that demands attention, its presence on the streets practically ‘forcing’ passersby to see and engage with it. Its accessibility allows everyone, from all walks of life, to experience and interact with the art form.
Street art in Yogyakarta began to flourish in the 2000s, evolving from graffiti. The term ‘street’ in street art connotes rule-breaking, vandalism, and illegality. Efforts by various community groups and government entities to curb its development have proven largely ineffective, as street art continues to grow in Yogyakarta. This is one reason why Begok, with a fine arts background from Sebelas Maret University (UNS), hailed from his hometown of Majenang, Cilacap to the city. “Yogyakarta offers more space for street art,” Begok explains. “It allows me to merge my canvas work with my passion for murals, especially since I get to reinterpret abandoned spaces and breathe new life into them through my graffiti.”
For Begok, street art creates its own language that is rich with symbols, messages and cultural references that often escape the untrained eyes. For instance, in his submitted mural for the UOB Painting of the Year, titled ‘7°49’03.3”S 110°21’00.2”E’ (the piece’s latitude and longitude), elements like the monkey by Badsyaw and seemingly random texts such as “Sigit Rendang” hold deeper meanings upon closer inspection. These references capture specific moments in time and societal nuances, almost like an ode that reflects the socio-political landscape and the humour unique to the local communities surrounding the mural. It captures the lives that exist as the artist births the art.
“Graffiti is more than wall painting; it reflects society and individuals. It symbolises continuity, inclusiveness, creativity, expressiveness, and universal accessibility,” Begok elaborates. Later he explains that his creative process is both structured and spontaneous. He continuously searches for abandoned buildings while developing his concepts. Each mural begins with a background story, explaining the reasons behind the artwork and the message he intends to convey.
This meticulous approach transforms abandoned places, often seen as eyesores, into vibrant canvases that tell stories and provoke thought. He views these spaces as “architectural corpses” that gain a second life through graffiti, emphasising that everything and everyone deserves second chances. By using spray paint and aerosol, Begok controls his technique through the size of the spray caps to create various effects. “Unlike traditional painting with brushes of different sizes, spray paint uses caps to produce different results, from solid to blurred effects,” he explains.
Despite the high cost of materials, Begok enjoys the entire process, finding fulfillment in transforming neglected spaces into vibrant art pieces. Sometimes, his murals become gathering spots for graffiti events, underscoring the historical and human significance of graffiti. Winning the UOB Most Promising Artist of the Year title has significantly enhanced Begok’s career, adding value to his work and increasing his exposure. “Winning has boosted trust from collectors and gallery owners,” he notes. “It’s a reflection of my existence as an artist, leaving my artistic mark on the world.”
IG: @begok.oner
