Elusive Tarmizi stages solo exhibition<\/p>\n
Carla Bianpoen, Contributor, Jakarta<\/p>\n
Amidst the hustle and bustle of often-incomprehensible works
\nof art, the exhibition at the One Gallery offers some respite and
\na breath of fresh air.<\/p>\n
The display shows works of Itji Tarmizi, an artist of great
\npotential in the 1950s, and a member of the Sanggar Pelukis
\nRakyat who disappeared without leaving a single trace after the
\n1965 political upheavals in the country. Pelukis Rakyat consisted
\nof a group of artists aspiring to bring the voice of the common
\npeople, creating what they called "art for the masses". It was
\naffiliated with Lekra (the People's Cultural Association) that
\nbecame the arm of the outlawed Indonesian Communist Party.
\nFleeing to his home village near Bukittinggi, Sumatra, Tarmizi
\nunlike his peers, managed to escape jail.<\/p>\n
Anxiety and fear kept him from artistic expression until the
\nearly 1990s, but a refined sensitivity, multiple skills and
\ncreative strength tangible in his varied works testify to the
\nenduring basics sustaining his oeuvre.<\/p>\n
Generally reflecting realistic representation, Tarmizi's works
\nalso seems to be inspired by the Old Masters and impressionist
\ntechniques. Examples may be seen in Gadis Nelayan (Fishing Girl),
\na 130 x 90 cm large canvas featuring a beautiful, white-skin
\nwoman with European facial features and a skirt in read, blue and
\ngray colors, or in Senja (Twilight), a 180 x 1100 large canvas
\nfeaturing a woman in a white dress with a transparent pink stole
\nstanding against a diffused, multi-colored sky.<\/p>\n
Particularly interesting is his 300 x 90 cm canvas entitled
\nAkhir Abad (The End of the Century). The color and brushwork of
\nthe woman and her daughter flow into the surrounding color, while
\nthe fabric of the man's shirt blends the hue of the other half of
\nthe canvas. Striking in the work is the difference in facial
\nfeatures of people in the left part of the canvas which are the
\nusual human features, while the faces in the right part of the
\ncanvas positioned as the front of the crowd, are painted in the
\nlikeness of prehistoric creatures looking into an empty space. Is
\nthis symbolic of the human condition at the turn of the century,
\na setback to an earlier stage of civilization?<\/p>\n
Tarmizi's oil paintings also include issues of the present
\ntime. Kosmonot (Cosmonaut), 120 x 100 cm, features Yuri Gagarin
\nin his Sputnik capsule, while Meteor is like an abstract
\npainting.<\/p>\n
Abstract are also his works of compositions using colored
\npatches, which he has cut, sewn and embroidered himself. I learnt
\nthis from my grandmother who was an expert in embroidery, crochet
\nand weaving, he explains.<\/p>\n
One may also be struck by his sketches made in charcoal,
\npencil or ink, which document the variety of layers in society
\nand their activities. There is a scene showing the men playing
\ncards, and another scene featuring three women vendors. Sketches
\nalso feature people around a discussion table, as well as
\nconstruction workers. But the most expressive and atmospheric is
\nundoubtedly Sketch No. X titled Pergi ke Pasar (Go to the Market)
\nwhich shows the vendors on their way to the market place while
\ndawn is making way for the penetrating rays of the sun. Equally
\nfascinating is his ink-on-paper self portrait anno 1990 titled
\nSketsa Masa Tuaku (Sketch of My Old Age) in which the deep-cut
\nwrinkles set the accent on the strength of a man of many
\nsufferings.<\/p>\n
The son of Tantuah Baginda Ratu, a military officer of Chinese
\ndescent and his Minangkabau wife, Itji Tarmizi was born in 1939
\nin Tepi Selo, Lintau, West Sumatra. He has been deaf since he was
\neight years old, and lost his speech not much later. In 1953 he
\nventured to Yogyakarta, together with his brother. He enrolled at
\nASRI, the Indonesian Art School, but dropped out and joined the
\nPelukis Rakyat which was then led by Hendra Gunawan.<\/p>\n
His paintings have been purchased, among others by the then
\nformer President Soekarno, and James Stewart of the Asia
\nFoundation in Bangkok. His paintings are represented in the book
\non the Adam Malik Collection.<\/p>\n
As this goes to print, Itji Tarmizi's health condition is
\nworsening, and this solo exhibition titled Suatu Kehadiran may
\nwell be the first and the last during his lifetime.<\/p>\n
Suatu Kehadiran by Itji Tarmizi;
\nGallery One, Kebon Jeruk, West Jakarta;
\nPhone 532 1267;
\nNov. 23 - Dec. 7, 2001.<\/p>",
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