From abstract to figurative, painter reveals new identity<\/p>\n
Yusuf Susilo Hartono, Contributor, Jakarta<\/p>\n
Unlike his father who was part of the early crop of painters
\nbringing the realist-naturalist style to the country's fine art
\nworld, Sudaryono is a loyalist of the abstract genre.<\/p>\n
His father, Sudarso, was a pure realist-naturalist painter who
\nhad close ties to maestros like Affandi, Hendra Gunawan, Barli
\nand Wahdi, They even formed the exclusive Indonesia Lima
\n(Indonesia Five) group in Bandung in 1935.<\/p>\n
Hence, any attempt to make parallels between the creative
\njourneys of this father and son pair will provide proof positive
\nthat the \"like father like son\" adage does not always hold true.<\/p>\n
Sudar, as Sudaryono is affectionately called, who was long
\nknown for communicating his expression through non-figurative
\nabstract strokes, has been challenged by his own restlessness to
\nleave this niche behind. In the past two years, he has started to
\ninclude figurative images in his works, a daring departure from
\nhis previous work.<\/p>\n
In his latest exhibition, Wayang Perempuan (Female Shadow
\nPlay) Sudar showcases his new identity, abstract figurative as he
\nplays around with female figurines drawn in the style of
\ncharacters from the wayang kulit (shadow plays).<\/p>\n
Over two years, Sudar has produced 25 paintings consisting of
\n23 figurative abstract works, two non-figurative abstract works,
\na wooden sculpture, and a three-dimensional sculpture -- all of
\nthem about women.<\/p>\n
These works are currently on show at D Gallery in Kebayoran
\nBaru, South Jakarta. The solo exhibition was opened on May 20 by
\nart connoisseur Pia Alisjahbana, who is a local press icon and
\nprominent cultural activist.<\/p>\n
In portraying the female figures, Sudar leaves behind the
\nconventional format of female characters in wayang kulit. Art
\ncritic from Bali Dr. Jean Couteau categorized what Sudar has done
\nas emerging from the existing iconography; which enables the
\npublic to identify his character.<\/p>\n
Although he has emerged from the iconographic patterns of the
\nshadow play, urbanites who are in touch with either Javanese or
\nSundanese traditional shadow plays will still sense the presence
\nof Sudar's shadow puppetry; at the very least from the way he
\npositions the gestures of his figures or, particularly, through
\nthe language conveyed through the shapes and the positions of the
\nfingers of each figure.<\/p>\n
For example, Sudar imparts the idea of rejection and
\nsubmission with crossed arms (ngapurancang in Javanese) and hands
\non the hips respectively.<\/p>\n
For Jakartans who originally hail from West Java, Central Java
\nor Yogyakarta, or have ever lived in any of these three
\nprovinces, wayang kulit will be familiar to them. Besides,
\nJakartans have had more opportunities over the last few years to
\nwatch wayang kulit with the airing of shadow plays on a number of
\nTV stations. Shadow plays are also available in VCD or DVD format
\nat affordable prices.<\/p>\n
Back to Sudar's works. The subjects of the works on display in
\nthis exhibition are dominated by black lines. These lines form
\nthe body contours and color compositions used mostly to create
\nthe colorful outfits of the figures. Sudar uses homogeneous
\ncolors to provide the backgrounds to his paintings to highlight
\nthe figures.<\/p>\n
The monochrome backgrounds can be easily compared with the
\nwhite backdrop of the shadow plays, which is meant to portray the
\nUniverse. It becomes a tad monotonous, however, when it is
\nused on a 140 cm x 170 cm painting with single subject. While the
\nfigure's bodies are stylized, Sudar makes the faces of the
\nfigures real. Even without this, however, Sudar already makes his
\nfigures speak through their bodies, hands and fingers.<\/p>\n
Looking back at his previous works and the current
\ntransformation in his style, a question emerges: what will his
\nwork be like in the future? Will he stay true to his female
\nshadow play characters? Perhaps not. Sudar confided to Ulfa
\nWaworuntu, the manager of D Gallery, that he wasn't sure if he
\ncould paint these kinds of paintings anymore.<\/p>\n
Perempuan Wayang, solo exhibition of paintings by Sudaryono, runs
\nuntil June 6, 2005, at D Gallery, Jl. Barito I No 3, Kebayoran
\nBaru, South Jakarta.<\/p>",
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