Boyke Aditya Krishna's art keeps viewers guessing<\/p>\n
By Lilia Syarif Naga<\/p>\n
JAKARTA (JP): People usually view paintings or artworks as a
\ndiversion or to appreciate their beauty and craftsmanship. They
\nare probably not seeking to evoke emotional upheaval.<\/p>\n
But it is magical when artwork, like that of Yogyakarta
\ncontemporary painter Boyke Aditya Krishna, can do all three.<\/p>\n
Millennium Gallery in South Jakarta is exhibiting 30 of his
\npaintings in conjunction with its soft opening. The exhibition,
\nfrom Dec. 20 through Jan. 20, is Boyke's second solo exhibition
\nafter one in Bandung.<\/p>\n
A prolific painter, he has participated in many joint
\nexhibitions at home and abroad. His trademark style is
\ncharacterized by neat lines, curves and figures as well as vivid
\nhues and dynamic movement.<\/p>\n
A 1986 graduate of the Yogyakarta Academy of Fine Arts, Boyke
\nhas devoted himself to painting since college. For the past 12
\nyears, he has perfected his style.<\/p>\n
He is inspired by nature in making the art because he strives
\nto capture its beauty, comprehensive existence and mystery.<\/p>\n
Through his art, Boyke tries to present nature in the widest
\nperspective: land, ocean, man, animals plants, sky. He adds other
\naspects of human life into the painting, such as the concept of
\nthe future life, the hereafter, expectations, misery,
\nimagination, emotions and other psychological conditions.<\/p>\n
Each of Boyke's paintings is unique and almost unbelievably
\nsucceeds in mesmerizing observers with their wildest
\nimaginations, simultaneously educating them with its unique
\naspects.<\/p>\n
Most of the paintings are acrylic on canvas and depict the
\nuncanny cohabitation of nature and creatures in the universe.
\nBoyke acknowledges his works are to an extent influenced by local
\nartistry, traditional values, mythology and folklore, such as the
\nethnic touches of Javanese, Balinese and people of Kalimantan.<\/p>\n
Boyke is down to earth but believes that we all live in a
\ncomplex dimension of life, where we reside, willingly or not,
\nwith plenty of unexplainable mysteries, like the concepts of the
\nexistence of ghosts, spirits, hell, heaven, the life after death
\nand natural disasters.<\/p>\n
He creatively unites all these complex perspectives into his
\npaintings; to some, they might look bizarre and unconventional.
\nAs a graduate of a leading arts academy, Boyke is well versed in
\nartistic technique of paintings and fully acquainted with all
\ncontemporary developments in arts.<\/p>\n
Boyke dislikes being categorized in a particular painting
\nstyle (some classify his works as decorative surrealism). Boyke
\nalways follows his heart in the process of painting; he devotes
\nwholeheartedly his time, energy and inspiration in every work.<\/p>\n
It takes him at least a month to finish one painting. Each
\npainting bears his recognizable figures of various anomalous
\nshapes of animals, vegetation, man and nature.<\/p>\n
Boyke said he sought to remind people that we live in a mortal
\nworld and that we were on a temporary journey.<\/p>\n
Each painting is invested with meaning. He emphasizes he can
\npaint in any style, and that he can draw objects in more
\nconventional shapes, but his current style is his identity and
\nsoul for today.<\/p>\n
Sometimes he uses oil, and several of the displayed artworks
\nare sketches made of ink on paper, but most of the time he
\nchooses acrylic because it is more suitable to his taste and more
\nadaptable in representing his ideas.<\/p>\n
According to Boyke, acrylic is safer for human health.
\nChemically, oil is quite hazardous to our health if we inhale its
\nvapor continually, particularly painters who use it as their main
\nmedium.<\/p>\n
Boyke's paintings do not draw a perfunctory glance. A
\nnaturally curious person will surely stay for a while. See that
\nthe surface of the painting is neat and flat almost like a
\nposter. Every inch of the canvas is crammed with intricate
\ndetail.<\/p>\n
At the same time, feast on the richness of color and movement.
\nFinally, emotional manipulations by our imagination and thought
\nare drawn out.<\/p>\n
Boyke said he did not paint to entertain anyone but himself.
\nHe never compromises to meet public demand, which explains why he
\nnever churns out \"sweet\" paintings for consumer demand. The
\nresult is that many of his works are too \"heavy\" to hang in
\nordinary living rooms. Despite its name, Dongeng Menjelang Tidur
\n(Bedtime Story) is definitely not recommended for a slumber room.<\/p>\n
Hendro Wiyanto, the curator of Millennium Gallery, agreed that
\nsome of Boyke's paintings would fit in private collections but
\nothers would be more appropriate in public spaces to reach a
\nwider audience.<\/p>\n
He said major buildings and museums were the best places for
\nhis works.<\/p>\n
Although an admirer of painters Affandi and Widayat, Boyke's
\nworks are often put in the same elan as those of Nyoman Lempad
\nand Made Wianta.<\/p>\n
Boyke wants to underline through his works that human beings
\nmust lead a harmonious life with the beauty and purity of nature
\nbecause it can be friend or foe, depending on people's actions.<\/p>\n
His paintings have been displayed in Bali, Japan, South Korea,
\nSwitzerland, Brunei and major Indonesian cities. Boyke has also
\nwon several awards for his outstanding artistry, including
\nseveral from biennial events. Among local artists, biennial
\nevents are considered a prestigious benchmark for assessing
\nartists' prowess and excellence.<\/p>\n
Jakartans can assess for themselves Boyke's artworks, most
\nmade in the 1980s and 1990s, until Jan. 20. He also plans to show
\nhis works in other cities and return to Yogyakarta, where he has
\na studio and exhibition space.<\/p>",
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