For over three decades, Sari Sedana has been dedicated to preserving and producing Balinese Batik, honoring the heritage of Indonesian textiles. With our new division, Red Thread, we are reimagining batik for a modern audience—infusing tradition with contemporary artistry while staying rooted in Indonesian culture and its talented artists.
In this spirit, we are excited to present a special collaboration: Red Thread x Chairol Imam, featuring the work of a remarkable Indonesian batik artist whose creativity pushes the boundaries of this timeless craft.
*Chairol Imam's paintings. Courtesy @chairolimam instagram
A Special Encounter with Chairol Imam
Our introduction to Chairol Imam’s unique batik designs took place at Kopi Bali House. We were immediately captivated by his indigo-dyed batik fabrics, hand-drawn with charming cartoon-like characters using a traditional wax pen (canting). His playful yet intricate style opened our eyes to new possibilities.
Although our primary focus has always been on batik printing, we instantly recognized the potential for collaboration. Together, our vision is to create batik garments that tell stories of everyday Indonesian life—batik that feels both deeply cultural and refreshingly relatable.
This collaboration marks just the beginning of our journey to reimagine Indonesian batik for the next generation. Read along through our quick chat with the artist himself.
How did you first get into the world of art?
I studied at a fine arts high school (SMA), and during that time, I also worked with Griya Logam, where I began experimenting with motifs. Later, I continued my studies at Sebelas Maret University. In college, I explored many mediums—sculpture, painting, and more. The characters I often depict are monsters, and the foundation of my work is always lines.
I became interested in batik after experimenting with paint but feeling unsatisfied. For example, when I tried using pink or green for lines, the colors didn’t stand out. But with batik, the colors were vibrant and alive. That’s when I found true satisfaction. My batik motifs often use line-based elements and character shapes that I’ve developed since my university years. That’s how I first entered the world of fine arts through batik.
Where does your inspiration come from?
Most of my inspiration comes from daily life. I was taught early on to deform and manipulate shapes so they don’t look ordinary—developing, distorting, or simplifying them. I apply those principles in my work.
Animals, like chickens and fish, often inspire me, as well as everyday objects. Sometimes, I even create abstract shapes that don’t exist in the real world. The influence comes from the things I see regularly, transformed into unique batik motifs.
Of all the art media you’ve tried, which is the most interesting?
Every art medium is unique, but batik stands out for me because of its technical process. Working with wax requires extra awareness and precision—one small mistake, and I might burn myself with hot drops of wax. That process keeps me grounded and focused.
Batik also demands patience since it’s a very time-consuming craft, especially the batik tulis (hand-drawn batik) that I create. That journey makes it deeply rewarding compared to other mediums.
n your opinion, do artists have a moral responsibility to address social issues, especially in Indonesia?
Yes, absolutely. Every piece of art should carry a message.
Do you try to convey that message in your art? Can you give an example?
Yes. I often work with autobiographical themes, using personal experiences to reflect broader issues. For example, I created a series titled Garden in Imagination during the pandemic. At that time, we couldn’t go outside or interact with people. Instead, I filled my batik with “monsters” from my imagination, creating a garden full of them.
Through these works, I addressed the isolation of the pandemic, replacing social interaction with creative expression. That’s how I link personal stories to wider social issues.
What challenges do you face in making batik?
My biggest challenge is still using artificial, chemical dyes. I haven’t yet transitioned to natural dyes, even though I’m very aware of the ecological impact. This is something I want to explore further.
Because of this, I took a break from batik on fabric and began experimenting with other materials—like creating batik on metal.
Is there a signature color for batik from Solo? And have you visited the Danar Hadi Museum in Solo?
Yes, most batik from Solo traditionally uses brown tones. I’ve been to the Danar Hadi Museum a few times—it’s impressive. However, I feel the development of batik motifs is quite slow compared to the innovation happening in fine art painting.
Mas Chairol, do you think there is currently a market for modern batik? Or does society still prefer conventional, traditional designs?
I believe people are ready and waiting for a batik market that embraces modern, contemporary motifs. Market preferences evolve with time, especially among young people. They want batik that feels fresh, colorful, and not limited to traditional browns.
*Chairol Imam wearing Karang Shirt from RTG x Chairol Imam Collection
Don't forget to check out RTG x Chairol Imam Limited Collection here