Devy Ferdianto: A Circle of Print, Passion, and Purpose in Ubud
Mahacaraka® Press
In the quiet town of Ubud, Bali, far removed from the hustle of gallery openings and academic symposiums, a new kind of energy pulses through ink, paper, and press. At the heart of it is Devy Ferdianto, a master printmaker who chose to retire in spirit, but not in craft. As Director of the Devfto Printmaking Institute, Devy has transformed his decades-long dedication to printmaking into a vibrant space of creativity, education, and artistic collaboration. In this conversation, he shares the journey, decisions, and philosophies that shaped his life in printmaking.
Could you start by introducing yourself?
My name is Devy Ferdianto, and I’m the Director of Devfto Printmaking Institute in Ubud, Bali.
How did your interest in printmaking begin, and what led you to pursue it seriously?
My specialization in printmaking was undertaken in Germany and Canada, in addition to my formal studies and postgraduate work at ITB. Back when I had to choose between painting, sculpture, ceramics, and printmaking, painting felt too familiar and I wasn’t drawn to 3D visuals. So, I chose printmaking—mostly because I didn’t know much about it. The first year was tough. I felt lost until a German professor held a workshop that completely changed my perspective. That single experience gave me a powerful insight into the art of printmaking, and I’ve been devoted to it ever since.
Why printmaking?
The term “printmaking” is the correct academic term for what we often inaccurately call “graphic art.” In fact, graphic art is a broader field that includes printmaking, graphic design (which later evolved into visual communication design), photography, and illustration. So when we talk about printmaking, it refers specifically to two-dimensional printed art. It’s unique in its own right.
In printmaking, the most distinctive characteristic of the process is the presence of many surprises and unexpected elements in each copy, making each unique. Even though the work exists as an edition of more than one, each copy is authentic, a multi-original work.
What inspired your decision to retire and build your studio in Bali?
Firstly, Bali has long been a place known for its meditative atmosphere. After more than three decades immersed in the noise of the art world, I was seeking peace. Secondly, Bali's international community means there’s a deeper understanding and appreciation for the field I specialise in—more so than I experienced in Java.
After three years running the Devfto Printmaking Institute in Bali, do you feel it was the right decision?
Absolutely. I’m happy here. There’s a stronger, more positive energy. The appreciation from others has been so encouraging, and it's what fuels me and my team. I often say my three years in Bali have been far more rewarding than my 30 years in Java—not necessarily in commercial terms, but in terms of growth, joy, and creative fulfilment. It was definitely the right decision.
Your piece "Kalang Encircled" focuses on yourself and those close to you. What’s the story behind it?
I’m one of those people who simply can’t live in isolation. I rely on my family, friends, society, nature, even objects and divine grace. Much of my inspiration comes from everyday life. “Kalang” reflects my circle—I’m not very sociable, so my insights often come from what's nearest to me.
Many techniques you’ve mastered (intaglio, lithography, cyanotype) do you have a favourite?
I used to be deeply into intaglio and disliked screen printing, mostly because 30 years ago, the materials used were oil- or solvent-based and quite toxic. But in the early 2000s, I discovered that acrylic paints could be adapted for screen printing using retarders to slow the drying process. This opened up a whole new world. Acrylics offer vivid saturation and a wide colour range. Since then, screen printing has become my favourite.
What inspired you to establish the Devfto Printmaking Institute, and what role do you hope it plays in the development of printmaking in Indonesia?
Printmakers need open studios to continue creating after they leave university, and such spaces are rare here. Most off-campus studios are too exclusive. An open studio gives artists a place to keep working, which in turn brings more Indonesian printmaking to international competitions and markets.
Why did you choose the term “institute” in Devfto Printmaking Institute?
Initially, I just wanted to enjoy my retirement while helping artists with their work. But I couldn’t shake off my love for teaching. That’s why I created an institute—so people can still come here to learn and do research.
What kinds of printmaking techniques are offered at Devfto?
Alongside the four basic methods—relief, intaglio, lithography, and screen printing—we also offer alternative photographic processes like cyanotype and gumoil printing. While both are photography-based, the mindset and approach are very much in line with traditional printmaking.
You also run an artist-in-residency programme. Could you tell us more about it?
Our Printmaking Residency Programme typically runs for two weeks. Artists work intensively in our studio, fully supported by our team. Usually, they’ll complete around five works, depending on the technique. It’s a focused, creative experience that allows them to dive deep into their craft.
Have you had any memorable collaborations with other artists?
In the printmaking world, when we help artists realise their concepts through print, we’re known as master printers. It’s a collaborative process in practice, though the creative authority always lies with the artist. We prepare the materials and assist with printing, but we don’t intervene creatively. Still, it’s an exciting experience—solving visual problems under tight timelines can be quite a rush. And those moments also forge deep connections with the artists. We learn from them, too.
What advice would you give young artists who want to explore printmaking?
First, this field demands perseverance and a strong mindset. Only those who enjoy challenges will truly thrive here. Second, whatever you pursue, make sure you have passion—and know how to keep it alive.
What dream or project do you hope to realise in the coming years?
I’d love to establish a comprehensive printmaking centre in Bali, complete with a studio, gallery, residency space, and ample parking.
In a world increasingly drawn to speed and spectacle, Devy Ferdianto’s quiet devotion to his craft stands as a resolute act of patience and persistence. His story is not only about technical mastery, but about purpose—of finding meaning in process, in community, and in the passing on of knowledge. Through the Devfto Printmaking Institute, he champions a future where tradition evolves without losing its soul. And in doing so, he invites young artists everywhere to believe in the value of dedication, the strength of passion, and the power of creating something that endures.