Evi Pangestu
Evi Pangestu
Indonesia, b. 1992

Indonesia, b. 1992
Evi Pangestu (b. 1992, Jakarta) is an Indonesian painter based in London. She started her formal training in painting at the Indonesian Institute of the Arts Yogyakarta, then moved to the UK to finish her undergraduate degree in Birmingham School of Art. In 2019, Evi received an MA in Painting from the Royal College of Art, London. Evi Pangestu’s artistic practice establishes a framework of control within the square and grid structures of painting, while simultaneously visualizing the rebellion that shakes those foundations. This exhibition aims to expand this narrative into the physical and psychological experiences of the audience, encouraging a ‘forced interaction’ with the artworks. The neon yellow highlights in Pangestu’s works serve as visual cues, reminding us of the potential for rebellion that lies beneath a seemingly stable facade and visualizing the vibrant energy that emerges from the cracks.
External links
instagram2019
MA Painting, Royal College of Art, London, UK
2017
BA (Hons) Fine Art, Birmingham School of Art, Birmingham, UK
2015
Fine Art - Painting, Indonesian Institute of the Arts Yogyakarta, Indonesia
Education
2025
Structure Control, THEO, Seoul
2024
Overthinking Squares, YIRI ARTS, Taipei, Taiwan
2023
To Be Square With, Kala Karya Gallery, Jakarta, Indonesia
Solo Exhibition
2024
I. Larghissimo, Greatorex Street, London, UK
2023
ARTJOG Motif: Lamaran, Jogja National Museum, Yogyakarta, Indonesia
2022
Setelah Yang Lirada, Artsociates, Bandung, Indonesia
Group Exhibition
2023
PARADISE AIR, Matsudo, Japan
2020
PADA Studios residency, Barreiro, Portugal
2016
School of Visual Art, New York, USA
Residency
3 Apr 2025 - 3 May 2025
Structure Control
In Structure Control, Evi Pangestu negotiates the tension between rebellion and control within the framework of painting. Through layered compositions and geometric constructions, her work questions the systems that shape our lives both visible and unseen. How much control do we truly have? By deconstructing and reconstructing the stretcher frames, each work challenges the rigid boundaries of convention of painting while still existing within its structure. The process begins with a square frame which is then altered through addition and / or subtraction, reshaping its form and disrupting its symmetry. When stretched with canvas, these modifications introduce surface tensions, creating distortions that push against the expected uniformity of the medium.
THEO, Seoul