Ryan Riyadi is one of the street artists, or street artist, whose works adorn many walls in public spaces in Jakarta which partly contains social criticism.
For about twelve years of making walls as an artistic medium, the man born in 1980 is better known through the character of his fictional image The Popo.
Unlike the most graffiti painters who just use the empty wall, the award winning The Best Mural Artist at Bomber Wall 2010 Award is admitted to have the concept and purpose in every work.
"At the beginning of my interest (interest) to draw in one place, it is a story," said Ryan Ryadi, in a special interview with the BBC Indonesia correspondent Heyder Affan in the third week of May 2013.
"I am not hunting an empty wall first," said Ryan, who is also a lecturer in visual communication at his alma mater, Institute of Social and Political Science in Jakarta.
He also claimed not too confusing whether the work of the murals would suck the attention of many people or not.
"In essence, I tell the history (history) that is around the wall," he explained his philosophy in the work. "So, the wall and the environment have a correlation."
In other words, he continued, "not just talking mural, but talking about the space itself".
Ryan then recounted his aesthetic experience while painting mural in Prapanca Street area, South Jakarta, many years ago.
In one afternoon, while riding a motorcycle over the highway, the youngest child of three brothers witnessed several trees felled for the benefit of the construction of flyovers (fly over).
"Every day through that road, I automatically overheated, because the trees are not there anymore," he said to open the story.
Direct experience in touch with reality like this, according to Ryan, many behind the works of graphite in the last twelve years.
"(Spontaneously), I prepared a red paint, so I wrote: 'By the fly over, the tree game over' and there is the head of the Popo character as my text, as my sign, as an artist," Ryan explained. is trusted to perform in this mural and installation exhibition in Singapore.
"The important thing I ngerasain first what is in the room," he said, explaining further.
Not a Robin Hood figure
Ryan's mural painting highlights the construction of the overpass above Prapanca Street, drawing public attention. A number of national media then preach it.
Incidentally, at that time, some residents who live in the area as well as environmentalists also cast a protest.
Men who since childhood interested in painting this world still remember when his work was "discussed" at the social site Twitter.
"Oh, it turns out that many feel represented (aspiration through the mural image)," said Ryan.
However, he continued quickly, he did not pretend to be a hero in the polemic of the flyover.
"My position is not like Robin Hood, who suddenly I (became) heroic to make a work," he said with a firm tone.
Ryan also emphasized that in every work he never acknowledged what he called the "people's aspirations".
"If anyone feels it is represented, yes, it's an effect," he said shortly.
Why social criticism
Of all the mural works of Ryan in various walls on the streets of the Capital, most of them contain social criticism.
"Because closest," Ryan said, when I asked what his motivations contained social criticism in his murals.
"I'm not going to talk about life all the way"