The colourful butterflies and peacock features that is Hotwax Studio’s signature (Source: Bayu Aria/Hotwax Studio)

Bayu Aria Widhi Kristanto, or Bayu Aria as he is commonly known, is the owner of Hotwax Studio and he is a batik designer-artist-businessman-educator and long list continues. Born into a family of an artist, Bayu has been attuned to design and drawing at a very young age. He then studied textile and batik in Institute of Arts Yogyakarta and slowly build his own brand and unique batik creations, including the Hokontul (Hokokai made in Bantul, as Bayu likes to call it), under Hotwax Studio.

In this episode of aNERDspective (our NERD talk show where we converse with amazing friends about their textile adventure and perspectives), we talked to Bayu about his journey in building his brand and creations, Indonesian batik design development and the tiny little secrets around batik industry eco-system in Indonesia. 

Note: Full chat is in Bahasa Indonesia and this translation of the transcript has been edited for reading format.

Tony Sugiarta (TS): Welcome Mas Bayu to today’s episode of aNERDspective. How are you?

Bayu Aria (BA): I am fine, considering the current situation and condition.

I know Mas Bayu as a batik entrepreneur, an artist, a teacher, and there are so many more. Probably you can introduce yourself, who is Mas Bayu and your journey in developing batik?

My name is Bayu Aria Widhi Kristanto, people usually call me Bayu Aria. Other than running my batik business, I have also been a lecturer for the past six years in Indonesian Art Institute (ISI, Institute Seni Indonesia), Yogyakarta, in Batik and Fashion. Other than that, I am also an adventurer. I enjoy nature and to work with nature – the other side of batik – to keep my mind recharged so I can create a new breakthrough in batik next year.  We are reserving energy for next year.

Journey of Hotwax Studio has just entered its 13th year, since the days I was living in a kontrakan (ed.: often referring to a low cost housing alternative, mainly for students or recent graduates). I placed a piece of white cloth, on 20 October 2007, I remember clearly, and that was the beginning. As I had no capital, I produced them one at a time. I had no employees. I started with making batik t-shirts. I bought plain tees, added batik and sold them. The concept is one design, one cloth. We dream big but when big order hits, we cannot handle it. Yes, I was on my own between 2007 – 2010.

After 2010, I had a company/employee to help with production in the village. I made a piece entitled Star of David. I sold it and people bought it, although I had no idea why. I did not really know about batik price standard then, especially conceptual and limited batik. I sold it for (only) 1 million Rupiah (~93 SGD, 70 USD) then and it was a big cloth, about 2.1 to 2.25 m.

I developed the model and I had 2-3 employees, after 3-4 years, albeit with limited production. From there, it slowly grows. (I outsource the waxing) and I concentrate on the design and finishing (ed.: dyeing, blocking and wax removal) until about 2015. I then opened a (full-fledged) studio with our own management system, our own employees (for each step). In 2016, I opened a branch in Pekalongan.

In 2014, I went to Venezuela to attend a fashion show exhibition and became a thesis examiner in one of the fashion universities who uses batik as an inspiration for its fashion. Long flight, about 30 hours! In 2015, I went to Tokyo, Japan. I was invited by the Embassy to do a presentation and a little workshop there. Finally, just before the pandemic, I went to Vienna, Austria in 2020. At the beginning (of the pandemic), almost all Small-Medium Enterprises collapsed and we are one who survives. We managed to get one of the highest sales since the Studio opened. But, it is the same now.

(It is a long history) since you were still in the rented house, you started to make your own batik, then you outsourced the waxing while you designed and dyed the cloth, until you have your own studio now.

How do you first know about batik?

I graduated from ISI in 2007, so I studied textile, focusing on batik. Before 2007, I applied (for a job) in Saitama, Japan as a jewelry designer. I had signed (the contract) but it was not approved because I had bronchitis then. I then applied to an architecture company since I can do 3D design. I was offered but I do not like it. I went back home and start waxing and making batik. Batik was not as booming then. I sold them through word of mouth with minimal profit, about 10,000 Rupiah (~0.93 SGD, 0.70USD) or a maximum of 100,000 Rupiah for a week. Since then, I was ‘stuck’ with batik. There are many opportunities, from jewellery design, architecture, translator but, in the end, I return to batik.

Are you from Lampung?

Yes.

And you studied batik at ISI Yogyakarta?

My father is an artist. He, himself, wanted to study at ISI but we did not have enough money. We then went to Lampung. My father always told me about ISI and encouraged me to enroll since I was in the 3rd grade in primary school. In Lampung, I went to a vocational school, majoring in arts and textile. I went straight to ISI after I graduated (from vocational school).

Probably you can talk more about design development in Hotwax studio. What is the signature design and the creative process behind it? Where did you get your inspiration?

It is a very long story.

Not a problem, we have plenty of time. *laughter*

If we observe batik in detail, we might understand. Since this studio started, I have a principle: as long as this studio stands, the design must be from me. So, there are no other artists who design the batik. It will then be consistent with the same character. We definitely create a new idea, a new concept. Anything new and limited has their own marketability, their own pathways, not along the mainstream. We created new motifs that are easily recognisable with strong cultural roots. For example, the Hoko series, like the one behind you. “Hoko” in the past refers to the old Peranakan batik. There is a ‘Hokokai’ in Pekalongan during the Japanese occupation. Our design will have roots based on existing traditional batik.

We also have Batik Dua Negeri. The famous one is Batik Tiga Negeri from Solo but I make Batik Dua Negeri (Batik of Two Kingdoms). Both have the same colour structure, but of different designs. Our designs are thematic, not simply flowers and leaves. Sometimes, it is semiotic with hidden codes that I did not tell my clients. In those batik, there are symbols – which could be religious – that I hide (or cover up).

In 2017, we created the Sogan series, based on the character of inland batik from Yogyakarta or Solo. I was thinking, why is classical batik or Sogan batik only used during official events? Why don’t they assimilate with other cultures in other environments? Hence, I made a shawl as it is easy to wear anywhere and it is not too formal while (maintaining) the classic character. Maybe there are others who did that but I wanted to strengthen the concept behind the Sogan series in the market. I made a concept, one that looks like a classic brown piece, but it is layered. Traditional sogan is ‘flat’ with a single brown later. I made them into a 3D-flower with layered colour tones, although, in the beginning, we destroyed a lot of cloth as the brown dyes are strong and the wax may be destroyed (due to repeated process). I then have to increase the quality of the wax. I created a recipe that can withstand 3-4 rounds of dyeing. The risk is that the cost will increase but (thankfully) it succeed. Later on, we used natural dyes but it is still workable for this Sogan series. The market (for this kind of premium products) starts developing.

Finally is the Limited Edition series, which I call LE. I signed LE at a corner with the year (of production) and my name, be it full signature or initials. Since 2017, I have been consistent that I will not sign my name unless it is a limited edition. 

Here’s the thing: batik is always considered as an alternative art, unlike, for an example, a painting, which is mainstream. Batik is just an alternative, a second line. 

Yes, it is considered mostly as a craft for daily wear.

Yes, why can’t it be considered for another market? One of the ways is to make it ‘limited’. At first, it did not make an impact in the art scene here as it was a sole (work) and was not accessible. Later on, when I made it, many collectors requested the signature. I refused as the signature is reserved for batik that was specially designed and it is only a set – one shawl and one long cloth.

In 2016, I made a rather monumental batik with Journey to the West (a Chinese literature classics) that was 22-meter in length. I signed it and I sold it. It fetched a decent price. 

Design (work) has its own market segment too and many companies bought it.

Do you mean they order the design or the batik cloth?

The design first and if they want to produce, we can do it. We have both design service and production. Those are design concepts that I use until now.

Is your target market segment the arts patron or batik enthusiasts who appreciates textiles?

No, that was my old mindset. Slowly, my entrepreneurial instinct kicked in and I saw an opportunity. If we can create a product that is efficient, cheap, good and can be accepted by everybody, that is great. That way, batik education can be even more widespread. People can have limited edition batik but one that is easily produced and cheap. My main objective (at the moment) is to trade, and that’s how I treat and manage the business since 2017. I think hard how to make it limited, unique and cheap. We have the premium stuff but those are used to subsidize (the products of the other market segments). For example, when the mass market weakens, we sell the premium products to offset costs for continuous production. From this upper market, I can provide scholarships for students or other educational programs.

It seems that the combination of idealism (of an artist) and business practicality such as cash flow etc, have been calculated and considered. 

Indeed. It has been well calculated. I was born into a family of an artist and artists are not usually systematic with their management. Many fail because they do not know how to manage (it as a business). From there, I learn to manage a good batik business management that is effective and efficient. I only thought of it in 2010 when I went into the online market. There was a survey in 2015 from a university in Surabaya, out of everyone in Indonesia, I clinched the Best Management for a batik business across Indonesia. I was invited to speak at an Economy forum on how to manage Small-Medium Batik businesses that are efficient, unique and impossible to lose (money), prior to the pandemic. 

There are so many management principles that are applicable, you mentioned about branding, storytelling…

I have a batik group. Before I launch a product, I will educate the consumers so that they know what they are buying, from the concept, the technique, to information about the recipe and quality of the wax. When there is an increase in the price, they will know that there is a reason behind it, which is the expensive material with good quality. For example, when we use beeswax that is more expensive, the percentage will be adjusted by regular batik makers (to cut cost). For a high quality Sogan series, I have to use more beeswax and automatically the cost increases. We tell them and they agree. It is ok if the price is higher as long as quality is good. We take photos and they get some knowledge.

In terms of design, other than designs (derived) from traditional batik like Tiga Negeri, Sogan, and so on, I saw some of unique elements, such as piano keys, flowers, and the butterflies.

Many things influence my designs. We can ignore the early days (2007-2010) since we have no data. I created works as I wish. Post 2010, it gets more organised. My first production was at the Centre of Nitik in Kembangsongo. (ed.: we talked to Bayu Aria’s partner, Fitri Hafifah, who managed the development of batik nitik in Kembangsongo) I observed that nitik was just a plain cloth without any ornaments, without any main motif. The price was still very cheap then. A piece of waxed nitik cloth cost about 80,000 Rupiah (~7.50 SGD, 5.50 USD) to 120,000 Rupiah (~11.20 SGD, 8.30 USD) a piece, waxed on two sides. When I started with nitik, it was 450,000 Rupiah (~42SGD, 31 USD). So I used nitik as the background. From there, I thought, why don’t I use nitik as the background for other cloth, for a coastal batik that’s colourful, for example, as nitik is always associated with Yogya sogan colour.

Perhaps, in 2010, many people saw it and the motif developed. Many classical motifs, like the sogan, become the background of other modern motifs in the studios. Other than that, there are oriental characteristics, which is Japanese. The essence (of my works) is not Chinese. It is more Japanese as I used to draw manga when I was young. 

For the piano keys, I thought why the sides are so ordinary, so why not use piano keys? There are many people who use it in other areas. When they wear it around the neck, there are piano keys around them. The motif has nothing to do with the piano but a new market segment developed and many music lovers bought them. Design-wise, it looks new although it is a small adjustment.

I once made a musical piece, it was a Mozart Sonata in C major using batik on silk. I thought, what if the orchestra does not use paper but have the score written on a piece of batik. They will play violins and piano while looking at the piece of batik. I was sold to a collector in Jakarta. That was the first design and (I think) it was still flat, I placed the piano keys and added flowers at the bottom. 

The second piece is more unique. When one sees a batik, they will only enjoy what the artist makes. Here’s the story and that’s it. In the second musical-themed piece, I made the song Imagine by John Lennon. Using guitar’s basic chords, each cord is represented by butterflies of different colours and shapes. I scatter them across the whole piece of batik. When one reads it, it is an actual chord and there is an interaction between the art and the audience, not simply a message from the artists. Regardless of culture, people can interact and play with it as it is universal. I named the piece Kode di Atas Batik (Codes on Batik).

There are some senior artists in East Java who commented that although they have been in the business for a long time, when they see these works (ed.: the musical piece), their minds are blown. They are finally aware of a new batik concept – to interact with the audience. That is not a wearable art but a piece of art, a totally different concept. It can be displayed, the concept value is excellent, there is innovation, the technique is top-notch, we used size zero canting, a super fine one. 

It is a really interesting concept, combining several arts disciplines from batik and music. I have met a researcher, he said that someone makes an art, I think it was pottery, with DNA motifs and included scientific patterns such as biological and chemical signs into the works. I think it will be interesting for batik, since batik itself is a combination of arts and science, such as physics and chemistry in dyeing. It will be interesting to dig a little bit more.

Yes, batik is actually a combination of many knowledge, like psychology, theology, chemistry, physics, art (definitely), and many more. When I studied batik in college, one or two semesters are not enough, batik must have its own program since there are many things to learn.

From the point of view of an observer or a critic, can you share about batik design development in Indonesia now?

It is great. Although in this pandemic, if we were to analyse the development and the corresponding impact, it will be difficult. Design will develop as time goes by, but not necessarily in terms of concept. Creating a concept is difficult. For example, in the certain era, there was a boom in a batik concept with 2 different colours on 2 sides, I sold them three or four years ago when it was booming but it was temporary. 

New concept that I did was nitik menthik. I used a small canting and cut it up to make a small canting nitik. That is a new concept, technically speaking. When people saw it, they were inspired. Of course, it will be more expensive. The skill required is higher and more detailed but not necessarily better. Batik nitik has traditional values. The old nitik motifs are definitely better. So we are better technically but not better in value. The standard nitik has an edge in terms of heritage and cultural values.

Could you elaborate more on what you mean by the development in technique but it cannot be said that is as good culturally?

In my opinion, a good batik that is perfect is a batik that does not only have a good motif, but it needs to have a strong connection to the local tradition. For example, the parang motif are worn by many Hollywood celebrities while my batik that is colourful may be mistaken as a printed batik. Parang barong, for example, other than having good colours, the motif is unique for rituals in Indonesia, for weddings, etc. That is tied and rooted to the local tradition that is resulted from the batik culture itself. It is not about the price but it is holistic in terms of cultural appreciation. Production-wise, of course it is correlated to the workmanship – the finer it is, the processing time is longer and automatically, the cost increases. However, that is different from batik that has traditional ties. In my mind, although the shape looks ordinary but I find the creation is mind-blowing. It has such a strong root that is still used until now. That is what I mean when I said although it is more expensive, it does not mean it is holistic culturally. I would still say the traditional nitik has a higher value, beyond financial measurements.

So the development is about technical development and adding new elements to existing motifs, is there a creation of a new motif?

There are definitely new motifs but they are often butterflies and flowers, flora and fauna. As a visual art observer, there should be criticism there. Even though they are new motif, they are essentially of no difference.

I have thought about it for a long time. I want to make something that is unique. For example, I combined unique elements from other cultures such as tapis from Lampung. I used it as a side motif in my shawl. People who see it will think that the maker is from Lampung. There are tapis that I modify in Batik Tiga Negeri style. However, I would say, the conceptual root is not as developed. 

I teach my students to not be dependent on realistic drawing. They need to have a strong conceptual foundation and understanding the roots of batik to be included in their own design. Regardless if it will be marketable, at the very least, this (principle) has been applied.

Do not be dependent on realistic drawing. You need to have a strong conceptual foundation and understanding the roots of batik to be included in your design.

That is one of the reasons why parang is always discussed until today. The cultural concept is very strong.

Yes, very strong, and I think the creator is a genius. There may be people who say that my works are good but I still find it difficult to, for example, create a distillation of a butterfly that is geometrical. How to make a square but you can still see that it is a butterfly? I cannot imagine how people in the past see a parang and lereng (the diagonal patterns) until it became a local tradition that lasted for generations. That would be a difficult feat for any designer then. If there is anyone who makes a very fine batik with size zero canting for five years and costs 1 billion Rupiah, I am not surprised. However, when we discuss parang,  I don’t know how people in the past made them. I am not there yet. Although my batik is one of the more expensive batik, I have not reached that stage. It is another realm.

I have also been questioning how people in the past created their motifs. The motifs can be said to be relatively simple, such as parang, kawung, only geometric motifs but they are very easy to recognize and many people have studied and observed them until now. I think it seems that no one has conceptually reached that stage yet.

Yes, I will start, but not now. Maybe in the next few years when my soul, my mind and my hands become one. I ask you, have you seen a duplicate of an old batik motif that is exactly the same – the lines, the colours, etc.? They still look stiff.  I ever imagined how they made a line in the past. For example, the batik encim Peranakan that I have been observing. Although I say that they are good, in my mind, it still looks rough, the workmanship of people in the past and now are different. Many present artisans are ‘good’ but not as fine when you compare it with the works in the 1900s, the taste (ed.: taste refers to ‘rasa‘, an intuitive sensitivity that is part of creative process that is rooted within batik making. We talked more about rasa with Nia Fliam and Agus Ismoyo of Brahma Tirta Sari earlier.) is different.

I often take a look at OST 1st generation and compare it with the present works, they are different. There is a feeling of warmth and softness that you are missing. You can see the colours (of older works) which are soothing, the feeling is comfortable and represents the Chinese oriental workshops. I admit that I cannot do that. Not that my hands cannot do it but I cannot replicate that quality of taste. I think my soul is not there yet. Technical expertise is not the issue. 

Perhaps, the quality of the materials now and in the past is different too.

Yes, the quality of the materials and the pre-treatment of the raw materials before they are waxed and dyed are different. There are some friends who process the fabric in great details, but the fiber quality then and now are different. The aim now is to be economical. In the past, fabric was pre-treated with various processes and required a very long time. If we do the same thing now, the production cost will be very high, the cost will be alarming.

What are the opportunities in the Indonesian batik industry?

Two months ago, there was a seminar from the Indonesian Batik Association in Jakarta. There were other batik makers such as Nita Kenzo and Batik Komar and I was one of the speakers. I was asked for solutions for our batik development. I said that now is a pandemic and the only way for us to move forward is to not stop batik making. If we used to make 10 pieces per day, just make do with 1 piece a day (so as not to stop the momentum). There are no theory that we can use to tackle this pandemic except to keep moving.

In the future, when this pandemic is over, the business acumen will be even stronger and the economy will improve. They will be smarter as they have gone through the worst. They will adapt and rise without us teaching them.

Batik is like a teacher sitting on a rock, giving all the wisdom to their students and letting them run with this knowledge. Batik is that wise. The bad thing is with the mindset of these students.

How about the impact of technology in batik development?

The technology in batik is developing well. There are a lot of people who incorporate technology, such as electrical canting, etc. It has been an ongoing discussion and even now, many people say that it is haram (forbidden by Islamic law). I have a principle that batik is like a parent or a hen that protects its chicks. Batik has many benefits, regardless of the form, in printing, stamped or written. People will know which is which, the problem is the dishonest sellers in the batik industry. When they say a printed batik as a stamped batik, that’s the problem. Batik itself does not harm. 

Batik provides many support. Due to the efficiency, they print the motif to be sold to Africa, for example, and tell them that it is a printed batik. It is better to educate that way rather than being idealistic but batik does not grow. These (printing) do not tarnish the essence of batik. Batik is like a teacher sitting on a rock, giving all the wisdom to their students and letting them run with this knowledge. Batik is that wise. The bad thing is with the mindset of these students.

Many people hold on to this principle for idealistic reasons. I was one. I used to think that if a batik is not made by one person, it will be ugly. I know that batik is a collective production but I was idealistic. On the other hand, if I don’t batik, I cannot eat and I carry this burden, physically and mentally, all by myself for years. Now, I think that batik carries wisdom and as long as batik can be useful to many. Batik is like a bible, it provides enlightenment to many. It can take many forms – printed, lasered, hologram – but the essence remains. Batik knows its place and market. When technology allows a more efficient production, many people can wear batik. For example, my relatives in my hometown cannot afford to wear a 300,000 Rupiah (~28 SGD, 21 USD) batik but they can afford cheaper printed batik and be proud that they can wear batik. 

Batik teaches us wisdom, the ones who misuse them are the people. Batik never teaches us to judge, we are the ones who judge ourselves. Batik has the utmost position in Javanese philosophy and thinking. (When spelled backwards,) it is kitab (a bible). A bible teaches us wisdom. Many new batik lovers could have a high sense of pride. However, it is sad that the people in the village want to wear one but cannot afford. Printed batik is not an issue. The kids can see (and be proud) when they see their fathers can wear batik. That education, I would say, is of higher value than self-worth or ego. That’s my opinion.

As mentioned before, there is a canting which has been made in the form of a robot. There is a lot of research like that, but what I see is that it is still at the research stage, not at the implementation or application stage yet.

The idea of mechanical or robotic development is indeed a good one. They have a goal to invent or develop that technology. Let the market decide. Although the research develops, the application needs not necessarily be done on batik. They can be applied to other fields. For example, programming for mechanisation of robotic canting can be used in another application, not only batik. The value is there, the research is fine.

(Regardless), the essence will not be lost. People will still know what a batik is. They understand that batik technology develops rapidly. Like a cellphone or a religion that can adapt throughout different eras, batik develops too. It is funny if it is not.

Technology development also has a positive impact. If there’s innovation, automatically the market develops, and the talent pool expands. Likewise, the technology and mindset broaden too. If there is anyone who wants to stick to the principle, there is a market too. It is impossible to put hand drawn batik and machine printed on the same pedestal, people are smart, they can tell the difference.

Not only printed batik and handdrawn batik, even batik tulis from one city and another are often compared.

Yes, the strokes among regions are different. The ways – the technique, not the design and shapes – they make the backgrounds are different. Even in Lasem, there are areas that specialise in the background motif while some areas for the main motifs. There are many variants and hidden practices in the batik industry that have now been exposed in books, social media, Zoom meetings, etc. Due to the pandemic, these practices are now shared online.

I observe Batik Pekalongan and Batik Madura, for example. Although in terms of materials and technique are the same but those from Madura are usually relatively cheaper. Can we standardise the cost of appreciation of these artisans? 

Obviously that is a difficult question. One that must be answered in a symposium. I can explain simply based on my experience and understanding. 

7 years ago, some people complained because Madura batik (a competitor) is so cheap that they cannot sell as the quality is similar. So I asked my contacts in Madura and found out that there are many tobacco entrepreneurs. When it is not harvesting season, they make batik. There are such areas. Slowly, they are used to that routine and they are paid minimally. Everything is relatively cheaper than in Pekalongan. 

Pekalongan, on the other hand, has become a batik hub. Automatically, they have standardisation and competition among workshops who are willing to pay more. There is a tradition that a batik artisan can choose who they want to work for after every Eid. Some workshops are willing to loan them money. This is an example of an unwritten dynamic between batik artisans and workshops. It is different in Madura, rather than having no money to eat, they rather make batik although at a cheap rate. That makes Madura batik cheaper.

 Of course, we have to see the quality of the cloth. If they use top grade cloth, the cost is already high. Some bought the raw cloth by weight or rejects but with good quality (to cut cost). 

There are many areas in Madura who are developing fine batik, such as Pamekasan and Podek, using small size canting. Can they produce cheap batik? No, it will be equally expensive. These are the kinds of information that are not always exposed or known by people. They only know that Madura batik is cheap, which is not true. In Pamekasan or Podek, their batik is expensive. They are super fine and colourful with pure dip dyeing and not brush dyeing.

It sounds like that there is already a price equality at a certain level, the price difference includes other factors, such as materials or process.

There are a lot of factors. One example, if we look at cheap Madura batik, the motifs are typical standard motifs (that have been memorised) such as ukelan, beras utah or simple lines. The production is quick. If it is detailed, the process will be long too and the price cannot be cheap. These are things that are not considered by many. They only know (and stereotype) that Madura batik is cheap.

I walked around Pasar 17 Agustus (a market in Pamekasan, Madura) and I observed. If the motif is a little more detailed, it will be more expensive and cannot be cheap. These cheap ones are mass produced and distributed across Indonesia including Thamrin City, and they are sold below the market rate. These made the impression that Madura batik is cheap. If we take a look at Pekalongan now, cheap batik is everywhere due to the pandemic. There are many gaps in our understanding about Madura and Pekalongan batik (or across different areas).

In fact, Yogya batik is more expensive than Pekalongan batik. Yogya is small with Imogiri and Kembangsongo that focus on classic batik, hence their price can be easily monitored. Due to the small compound, people can compare and they have a standard (price). In Pekalongan, it can be cheaper because the human resources are in abundance. Also, Yogyakarta is known for its cultural heritage. When one buys batik from Yogya, they feel different. Yogya has an advantage in branding (as batik’s “birthplace”). That’s what I observe. 

It is not only about materials and goods, but also the development of human resources. In Pekalongan there are so many batik artisans and they have become professionals.

In fact, the future is in Batik Madura. There are more than 6000 hand drawn batik artisans, maybe more than the number in Pekalongan. That was in 2018 when I went there to talk with the Industry and Trade Agency and to judge a competition. I was told that the strength was 6000 people then. There are only about 500 artisans in Yogya. That is a lot. Many senior batik players remarked that the future of batik is in Madura due to the explosion in the number of batik artisans. 

Wow. I always thought that the majority of people there are farmers and they make batik as a side job, but there are more batik makers now.

Yes, in 2018, there are more. However, we do not know the current condition because the number fluctuates. Especially at times like this, when human resources increase but the demand decreases, they will be discouraged. We don’t know what will happen in the future. In the latest census (by 2018), that was the number, we don’t know what’s the development next.

Before we close the conversation, what projects or programs are you planning or working on in the near future? What can we look forward to from Hotwax Studio?

First, we do not expect any breakthrough this pandemic but we are trying to make a few new creations by the middle of the year. Perhaps, we can make red natural dye batik that is a little rare such as from the bark of noni roots.

Second, one that keeps me busy is that we are producing batik uniforms of the staff of Bank Central Asia across Indonesia, for about 35,000 employees. They just bought the design and production started in the middle of February.

There are many projects and activities.

Not too bad. I can buy many mountains this year. *laughter* 

Finally, before we end our conversation today, are there any messages for friends who are watching this?

My message is, whenever possible, do not stop making and supporting batik. We are all in this together. It is dangerous when we stop making batik. We do not know how long this will last but we will get through this. Do not stop the momentum. Once we stop, our mood disappears, our network is gone and those are difficult to rebuild. My message is to strive on, regardless of the volume, do not quit batik. There is no other (economic) theory that can save all of us in this difficult time.

Thank you once again for taking the time to share.

We hope you enjoyed this episode of aNERDspective. Check out the previous episode on IGTV and our gallery and store if you would like a piece of Indonesia for your home or wardrobe. You may also check out Bayu Aria’s Instagram for the latest collection.

Photo credit: Bayu Aria/Hotwax Studio, unless stated otherwise.