Nurul Hayat, better known Acil aliancah live in the cultural city of Yogyakarta, Born 1972 in Tasikmalaya, West Java, Indonesia, was educated at the University of Yogyakarta Tamansiswa, then continue in the graduate program the Indonesian Art Institute, but not until the end, before he was working as a professional painter , had worked as a graphic designer, his works are based on the experience in which he lived. Bekaerja and lived in the town of Yogyakarta, as we all know, a strong darting through the town batik culture, thus affecting to the latest works. Recent activities, he did a residency in West Lombok, an area in the eastern part of Bali, and generate new visual in his work, inspired by the sea where he stayed for residency.

Name                                      : Nurul Hayat (Acil aliancah)

Birth Date                              : Tasikmalaya, Sepetember 06,  1972
Address                                 : Nitiprayan N0. 51 F RT 001 Ngestiharjo Kasihan  Bantul 55182,

                                                  Yogyakarta Indonesia
Education                              : Universitas Sarjanawiyata Tamansiswa Yogyakarta
                                                  Indonesia Art Institute of Yogyakarta (ISI) majoring fine art
Phone                                    : +62 82221481894
Email                                       : segikutiga@gmail.com

Blog                                        : http://acilartwork.blogspot.com/

                                               

Activities                :

SELECTED GROUP EXHIBITIONS

2013                       - Doors, MHB, Yogyakarta Indonesia

                                - Transavantgarde, AJBS Gallery, Surabaya Yogyakarta

                                - Nusa Amor, Hotel Sentosa, Mataram, Nusa Tenggara Barat

2012                       - Live in Harmony, Yayaa Artspace, Bali, Indonesia.

- Tanda Mata IX, Bentara Budaya Yogyakarta, Indonesia.

- And The Cocks Are Still Fighting, Syang Art Space, Magelang, Indonesia;

- Collectivo Show, Gaya Fusion Art Space, Bali, Indonesia.

2011                       - Celbrating The Body, Gaya Fushion, Ubud Bali

- Tubuh-tubh Margin, Galeri Phillo, Jakarta

- To Know the Unknowen, kolaburasi dengan seniman Austria, AIAP sewonartspace Yogyakarta.

                                - Menembus Batas, Kelompok Sanggar Suwung, Bentara Budaya Yogyakarta.

                                - D&Art, Rumah rempah Solo

                                - Dies Natalis Ke-27 UPT Galeri ISI Yogyakarta

                               

2010                       - Jogja Art Share,  Jogja National Museum, Yogyakarta 

- Art(sem), Semarang

- Tanah Jawa, Kelompok Arts Liberation Front, Taman Budaya Yogyakarta.

- 2010 Jakarta art Award, North Art Space Pasar seni Ancol, Jakarta

                                - Power Wagon, Kelompok Parkiran, JNM Yogyakarta

- KebersamaanBiasa Gallery Jogjakarta

                               

2009                       - Jogja Jamming, Biennale X Jogjakarta

- Jogja Art Fair, Taman Budaya Yogyakarta

- Meeting People is Not Easy”, ROOMMATE Yogyakarta

2008                       - performance art  GLOBAL WARMING, PATAGA UNTAG Surabaya,

- performance art  GLOBAL WARMING , Tasikmalaya,

                                - The Unstranslatable, Jogja Galeri, Yogyakarta.

Vacation#1, markers on paper, A4, 2013

Vacation#2, markers on paper, A4, 2013

Vacation#3, markers on paper, A4, 2013

Vacation#4, markers on paper, A4, 2013

Vacation#5, markers on paper, A4, 2013

Vacation#6, markers on paper, A4, 2013

Vacation#7, markers on paper, A4, 2013

Vacation#8, markers on paper, A4, 2013

Blur King, Acrilyc on Canvas,100X90 cm, 2013

Blur King, 

This work began from my interest in the figure of leadership and how power often appears strong but actually contains many unclear layers. I portray this figure with layered forms and small visual elements to reflect how leadership is shaped by various influences, relationships, and overlapping interests.

The slightly blurred visual form is used as a symbol of uncertainty in perceiving a leader, both in terms of identity and their role in society. In this work, I try to present the figure as a space that contains multiple stories and experiences happening simultaneously.

Dialogue, Acrilyc on Canvas, 125x95 cm, 21013

Dialogue

This painting comes from my thoughts about how humans communicate — not only with others, but also with themselves. I imagine conversations as layered voices, sometimes clear, sometimes overlapping, sometimes unfinished. The forms and symbols inside the work represent fragments of words, emotions, and inner responses that continuously interact. Through this piece, I try to capture the feeling of a conversation that never truly ends.

Bila Rinjani ingin Pergi,  Acrilyc on Canvas, 100X80 cm, 2012

Bila Rinjani ingin Pergi If Rinjani Wants to Leave 

This painting comes from the imagination of something grand and majestic that one day might change or leave us. I imagine Rinjani not only as a mountain, but as a living presence that has its own will and can move away. This work feels like an inner dialogue about loss, change, and how humans try to accept that nature, and life itself, can never truly be possessed.

The Ultimate War, Acrilyc on Canvas,100X80 cm, 2012

The Ultimate War

This painting grows from my thoughts about conflict that happens not only outside, but also inside ourselves. I imagine war as something layered — between humans, between ideas, and within personal emotions. In this work, I try to mix tension and chaos with playful visual elements, because sometimes the most serious battles appear in unexpected forms.

Smoke on The Water, Acrilyc on Canvas,100X80 cm, 2012

Smoke on The Water 

This painting emerged from a spontaneous imagination about smoke or the act of smoking happening underwater. The title is inspired by the song Smoke on the Water by the British rock band Deep Purple (1972). The phrase itself was also born spontaneously, capturing a sudden visual moment of smoke drifting above water during a casino fire in Montreux, Switzerland. I did not directly depict that event, but instead captured the visual impression and imagination freely.

I created this work while staying in Gili Air, Lombok. The atmosphere of the sea there unconsciously brought out patterns that reminded me of ocean-inspired batik motifs. I worked on this painting by following feeling and intuition.

Ayah dan Sagi bermain di Pantai, Acrilyc on Canvas,100X80 cm, 2012

Father and Sagi Playing on the Beach

This painting is inspired by memories of togetherness between my child and me in the space of the beach. While creating this work in Gili Meno, memories of moments of playing, closeness, and warmth in the relationship between father and child resurfaced.

The beach appears in this work as a space of memory and feeling. Through this painting, I try to capture a sense of longing, simple happiness, and an emotional connection that continues to exist despite distance and time.

Kontiki to be Continued, Acrilyc on Canvas, 100X80 cm 2012

Kon-Tiki: To Be Continued (2012)

This painting was created as a gesture of gratitude to the owner of an accommodation named Kontiki for the kindness and experience I received while staying there. The name Kon-Tiki reminds me of the Kon-Tiki expedition led by Thor Heyerdahl, a journey across the ocean using a simple raft as an exploration and proof of human voyage.

The phrase "to be continued" appears as a hope and a prayer that the accommodation will continue to grow, survive, and remain a place of stopover for many journeys and new stories.

The Big Boss, Acrilyc on Canvas,100X80 cm, 2012

The Big Boss (2012)

This painting speaks about power as something that often appears strong, intimidating, and seemingly unshakable. I used a symbolic approach to suggest how power can exist in layers of meaning and interpretation.

I see power as something that never truly lasts. There is always something that moves beyond it. In this work, I tried to capture the idea that time may be the real ruler, while power only passes through along a longer journey.

Banyak pintu menuju Surga,Acrilyc on Canvas, 140X70 2013

Many Doors to Heaven (2013)

This painting emerged from an imagination of the many paths that can lead us to new understanding and experiences. Each panel in the work is imagined as a “door of knowledge” that can be opened by anyone who views it.

I created this piece intuitively, letting shapes, colors, and patterns develop on their own, while inviting the audience to explore and interpret each door according to their own experience.

Tuntunan, Acrilyc on Canvas 100X80 cm 2012

Guidance (2012)

This painting was inspired by the feeling of being the eldest brother, expected to provide example and guidance to younger siblings while still feeling unprepared. Cultural pressures and responsibilities weigh heavily, giving the main figure a weary, resigned expression.

The work captures the tension between responsibility and personal limitation, while still inviting the viewer to find their own meaning. Each person can discover a different sense of guidance through the shapes, colors, and expressions in the painting.

Happy New Year, Acrilyc on Canvas,100X80 cm, 2012

Happy New Year (2012)

This painting was created during the New Year celebration. While people were celebrating with parties, I celebrated through my own brushstrokes, colors, and imagination. The work emerged intuitively, following a spontaneous flow without any planned story or message. I simply let the energy of celebration and joy shine through shapes and colors.

Nenek moyang ku para pelaut,Acrilyc on Canvas, 125x95 cm, 21013

My Ancestors Were Sailors (2013)

This painting emerged from intuition and spontaneity. I let brushstrokes, shapes, and colors develop on their own, following feeling and imagination at the time. The work speaks directly through energy and symbols, allowing anyone who views it to find their own meaning.

The Song of Demokroni, Acrilyc on Canvas,125X90 cm, 2013

The Song of Demokroni (2013)

This painting emerged from my observations of political conditions, but more as a spontaneous expression than a literal story. I tried to capture the feeling of the situation, with subtle humor and irony. The shapes, colors, and symbols in this work are intentionally open, allowing viewers to interpret the meaning and irony for themselves.

Tas Ramae, Acrilyc on Canvas,100X150 2013

Tas Ramae (2013)

This painting emerged from spontaneous imagination and visual exploration, with a sense of absurdity. I let shapes, colors, and symbols develop freely, following intuition at the time. The imagery shows a seahorse ridden by a warrior holding a kris, evoking a sense of victory and courage in battle. The work is open to interpretation, allowing anyone who views it to find their own story and meaning, without needing to know the literal meaning of “Tas Ramae.”

Vio, Acrilyc on Canvas, 100X90 cm 2013

Vio (2013)

This painting emerged from a spontaneous collaboration between me and my niece, Vio, who was around 10 years old at the time. I let Vio make marks on the canvas, and then I responded to her strokes, transforming them into a new composition. The work captures the energy of play, freedom of expression, and creative interaction, while leaving space for viewers to interpret the shapes and meaning for themselves.

Nazmi,Acrilyc on Canvas, 100X90 cm 2013

Nazmi (2013)

This painting also emerged from a collaborative process. I worked together with Nazmi to create a new composition, allowing Nazmi’s marks and ideas to interact with my own visual responses. The work captures spontaneous energy, creative interaction, and freedom of expression, while still leaving space for viewers to find their own meaning.

My artistic practice is rooted in an interest in asymmetrical forms found in nature and the organic movements that constantly transform. I perceive visual form as a dynamic process in which narratives, symbols, and experiences can coexist within a single visual space.

I was born in Tasikmalaya and spent a significant period pursuing art education in Yogyakarta, two regions with strong batik traditions. These experiences have influenced my visual sensitivity, particularly in the use of layered ornamentation, repetitive patterns, and the tendency to construct forms as narrative spaces

In developing my visual language, I am strongly inspired by the concept of Ruang Waktu Datar (Flat Space-Time) introduced by Indonesian scholar Prof. Primadi Tabrani. This approach allows multiple events, perspectives, and temporal layers to exist simultaneously within a single visual field. Through this method, figures in my works function as spaces that contain various stories and social reflections presented in a non-linear narrative.

My works often employ symbolic imagery, visual humor, and wordplay as a way of addressing social dynamics, cultural phenomena, and power relations in contemporary society.