Interview | Yogyakarta-Based Artist Rizka Azizah Hayati

Rizka Azizah Hayati is an artist who was born in 1996. She grew up in the unique acculturation of Banjar culture, which combines Dayaknese-Malay influences with Islamic religion. In 2014, she left her hometown to study fine arts. Rizka pursued her studies in fine arts at Universitas Negeri Malang and later continued her master’s studies in fine arts at Institut Seni Indonesia Yogyakarta (ISI Yogyakarta) in 2021.

Rizka chose the “Rust Dyeing” technique to explore her artworks. This technique makes use of the iron corrosion process to obtain rust, which is then applied to fabric. She combined various other mediums such as fabric waste, used copper, acrylic paint, and oil bars to enhance her artworks.

Each artwork is a new surprise for Rizka, and not just for the audience. Her experimentation in her works has allowed her to reach a certain level of skill as an artist.

Her works reflect the collective memory of her exploration, bringing narratives of phenomena occurring in society that are related to the environment and social issues.

Currently, Rizka resides and works in Yogyakarta, a city where culture and art blend beautifully.

Benih Bunga Baru, 2026, Iron rust dye, waterproof elastomeric paint, transparent gesso and acrylic on canvas, 140 x 125 cm

Can you tell us about your background and how you started your artistic journey?

I grew up in South Kalimantan amidst a unique natural landscape—rich in peatlands, swamps, lakes, and rivers, each with its own distinct culture. My artistic journey began in childhood, when I watched a teacher give drawing lessons in my village; this sparked a passion for painting in me. However, limited access to education prompted me to leave home and pursue art studies in Java, marking the true beginning of my journey. Although I felt somewhat behind due to my earlier lack of educational opportunities, my drive to learn and discover the unknown never wavered. I began exploring a wide range of subjects—from history and the quest for identity to the buried stories of my ancestors—and experimenting with various materials, realizing that they could help me express myself in the specific language I needed. That exploration continues to this day.

Inkubasi Tubuh (2), 2024, Oil pastel on paper, 29.7 x 42 cm

What are the main themes or concepts you explore in your work?

Intergenerational memories, wounds, and traumas—whether distorted, buried, or unresolved—often resurface in various forms (such as physical symptoms or conflicts) in recurring patterns. I seek to transform these elements through the emotions, memories, and history I know and feel, translating them into my artwork.

Are there any particular mediums you prefer working with? Why?

When traveling, I like to carry portable drawing tools—such as a sketchbook—to capture ideas and emotions through sketches or writing quickly. In the studio, I tend to experiment with various materials; some require processes like fermentation or iron oxidation, necessitating periodic monitoring. With materials like copper, I often deconstruct random finds so they can be reassembled, and I enjoy the process of negotiating with time as these natural transformations unfold.

Migrasi Beranda, 2024, Iron rust dye and acrylic paint on canvas, 105 x 125 cm

How do you stay inspired and motivated to create new work?

Past artworks always seem to open a door that reveals further possibilities; I believe that inspiration is something entrusted to us—it is abundant, and we simply need the commitment to bring it to life.

Furthermore, I train myself to have the courage to experience and revisit the emotions embedded in the buried stories of my ancestors, transforming them into creative works. I see this as part of my effort to reconnect with myself—bridging the disconnect caused by this distraction-filled era—so that I may continue to stand on firmer ground.

Wildflower on The Riverbank, 2024, Iron rust dye and acrylic paint on canvas, 165 x 125 cm

What challenges have you faced as an artist, and how have you overcome them?

The challenge lay in the quiet moments of the incubation and research process, and in maintaining confidence in my creative journey—with all its trial and error—even when those around me doubted it. I overcame this by constantly learning to adapt and remaining steadfast in being true to myself.

Tanah Harum dan Dingin, 2024, Iron rust dye and acrylic paint on canvas, 105 x 165 cm

What projects are you currently working on, and what can we expect from you in the future?

I am currently conducting further research into the history of the river people in my region and their connections to various past civilizations; alongside this, I am preparing for several group and solo exhibitions. I cannot make promises to others, but the one conviction that keeps me going is that I am someone willing to learn. This opens up numerous possibilities for me to encounter new versions of myself in the future.