Fresh ideas always emerging for artist Sunaryo<\/p>\n
Text and photo by Aendra H. Medita<\/p>\n
JAKARTA (JP): Tracking artist Sunaryo's long journey to
\nsuccess is an intriguing undertaking. Over the years, Sunaryo has
\ninvigorated Indonesia's art world, his rare creations confirming
\nhis standing as an artist of rare skills. His works depict the
\nessential values of humans, and the prolific Sunaryo is
\nindefatigable in unraveling the secrets of art.<\/p>\n
Born on May 15, 1958, Sunaryo, also a lecturer at the School
\nof Fine Arts and Design at the Bandung Institute of Technology,
\nand the winner of the Kahati and Philip Morris awards, has
\nexperienced numerous highs and lows over the course of his
\ncareer. It was only after years of pursuing his art that he was
\ngiven the opportunity to exhibit his work both locally and
\noverseas.<\/p>\n
In the words of noted art critic Jim Supangkat, Sunaryo --
\nlike many other Indonesian artists -- is highly sensitive to his
\nenvironment.<\/p>\n
In a catalog, Jim wrote: \"(Sunaryo's) works rest on one of
\nIndonesia's important arts paradigms: to seek the rightness in
\nmoral ethics rather than the absolute truth.\"<\/p>\n
The implications behind these words find expression in
\nSunaryo's series of works The Nadir Points, The White Points and
\nThe Points of Nervousness, currently displayed at Galeri R-66 in
\nBandung.<\/p>\n
In these works, the artist shows subtle worries and touches of
\nperfectionism, lending more weight to his distinctive style.
\nThere are similar nuances in his masterful A Stage of
\nMetamorphosis, an installation that was part of the artist's May-
\nJune 2001 exhibition at the Circle Point Art Space in Washington,
\nD.C.<\/p>\n
The exhibition featured a container-load of items comprising
\npaintings, statues, cloth and iron constructions, highlighted by
\nthe installation piece and performing arts.<\/p>\n
The following is an excerpt of a recent interview Sunaryo
\ngave The Jakarta Post:<\/p>\n
Question: Do you have a special concept for each of your
\nexhibitions?<\/p>\n
Answer: Expressions in my works are based on my awareness
\nthat as a son of this nation, I want to convey what is happening
\naround me. What I have in mind is to be productive. It is not
\nabout transferring an object, but more about meaningful aesthetic
\nexpressions.<\/p>\n
Q: Do you see anything in Indonesia's economic crisis that may
\ninspire you to create art?<\/p>\n
A: I only want to convey through my artwork what is happening in
\nIndonesia as a transitional process, a metamorphosis. This
\nrepresents an effort to consciously maintain a distance from what
\nis really happening to ensure that I will not become carried away
\nby this prolonged crisis.<\/p>\n
As a strong response, not just an ordinary response to such
\ngrave conditions, I have created art pieces called Titik Nadir
\n(the Nadir Points), in which all the works are wrapped in black
\ncloth.<\/p>\n
Q: On what do you usually base your works?<\/p>\n
A: A variety of things, yet with one focus. In my installation
\nworks, I normally make use of the strength of multimedia, as this
\nmay allow direct communication. Sometimes, however, I also take
\ninto account the material of the work I wish to create.<\/p>\n
Q: How was your exhibition in Washington, D.C.?<\/p>\n
A: My exhibition there was held at the invitation of the curator
\nof the Circle Point Art Space, and lasted one and a half months.
\nAs my exhibition was chosen for the grand opening, I brought with
\nme statues, paintings, installations and performing arts pieces
\nfeaturing dancer Hene.<\/p>\n
Q: What were the works in the exhibition like?<\/p>\n
A: Basically, I wanted to present my works as an important piece
\nof the public discourse, not only of Indonesia but also of the
\nwhole world.<\/p>\n
For example, I contributed one of my works, titled Help Me
\nIMF, to the gallery, hoping the gallery would become a place for
\nthe exhibition of the works of Asian artists, particularly
\nIndonesian artists. My hope is that this will eventually serve as
\na cultural bridge linking Indonesia to the U.S.<\/p>\n
Q: What was the response to your works?<\/p>\n
A: As the exhibition coincided with my birthday, the gallery
\nthrew me a surprise party. And some Americans were very pleased
\nwith the exhibition and wondered why I did not hold a similar
\nexhibition in New York.<\/p>\n
The then Indonesian ambassador, Dorodjatun Kuntjoro-Jakti,
\nsaid he had never seen a single solo exhibition from Indonesia
\nduring his tenure.<\/p>\n
Q: Were you satisfied with the works you exhibited in the U.S.?<\/p>\n
A: Actually, I was still working on them. You know, every time I
\ncomplete a piece, fresh ideas come to me and, of course, I have
\nto deal with them.<\/p>\n
Q: Do you plan to hold a similar exhibition in Indonesia?<\/p>\n
A: Actually, some of the works have been exhibited in Indonesia,
\nand one-third of the items exhibited in the U.S. were on loan
\nfrom my own Selasar Seni Gallery. The rest were new pieces that I
\nadded to the collection.<\/p>\n
Q: What about your latest work, Titik Gamang (Point of
\nNervousness)?<\/p>\n
A: Titik Gamang was exhibited at R-66 and is one of my latest
\nworks. Every one of us is gripped by endless nervousness. I
\nbelieve that in my career, fresh ideas keep pouring out,
\ntherefore adding to my nervousness.<\/p>\n
So this work, Titik Gamang, is a manifestation of the self-
\nawareness that there are many complex but unfinished problems. A
\ncatharsis is needed and it is this catharsis that Titik Gamang
\ncontains.<\/p>\n
Q: In terms of the development of the arts, what is the
\ndifference between the U.S. and Indonesia?<\/p>\n
A: Maybe the working rhythm. In my creative works in the U.S., I
\nparticularly learned a lot about American living habits. This
\nworking rhythm is what you should live with and abide by. It is
\nrather hard to improvise, for example, because every plan has to
\nbe checked long beforehand so as not to harm the public.
\nEverything must be orderly and effective in the U.S.<\/p>",
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