stephan e perez

artist
event flyer. Shows the hin bus depot residency house view from the street. The image is tinted blue and indistinct, white, bubbly shapes are blended with it.
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event flyer with a painting of tree branches, jenga blocks and the brow of stephan e perez
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event flyer for 'on the jalan' that looks like it was made in mspaint. rectangular, cropped photos of stephan e perez and pinka oktafia are slapped on top of a cartoon graphic of a man and a woman on a moped. Speech bubbles have stephan asking pinka in Indonesian to teach him how to ride a moped. She replies 'ok'.
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cloud of nearby faces, floating in a black void. Some of them overlap, forming shapes.
faces (2024)
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tea candles and playing cards on a table. The cards are stacked in two piles. The top card in the smaller pile has writing in pen that is hard to read
straight flush (2024)
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composite image of the may first protest and a sign-maker drawing a frankenstein-like image in black and white
hari pekerja (2024)
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The performer, stephan e perez, leans over a small, dimly lit, vinyl pool filled with water. Two women are crouching looking into the water. Reflections of people are visible in it.
showing intention (2024)
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The performer, stephan e perez, does something on his smartphone while standing with his back close to a wall. A projection of a photo of himself illuminates him and the wall.
let it snow (2023)
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A crowd sits in a dark gallery space. Ceiling lights illuminate the left part of the wall, which is adorned with photos and map fragments. The crowd watches as the performer (Stephan E. Perez) points his arms, with cameras attached, towards the photos and maps. He looks towards the right side of the wall, where the two cameras' feed is being projected in the shape of two overlapping circles, blurred at the edges. The left circle shows a young boy and two even younger girls. The right circle shows two adults in front of a landscape.
cartography (2023)
The overall theme and approach of my work is to use the medium of performance as well as technology to place a magnifying glass on life. The material is often related to memory & nostalgia, or everyday activities. My work should serve to, in the Cageian sense, blur the line between art and life.