Jeihan's work still centers on human figures<\/p>\n
By Chandra Johan<\/p>\n
JAKARTA (JP): Famous painter Jeihan Sukmantoro is presenting
\nhis works in a solo exhibition curiously titled Toward the New
\nMillennium at Cikini Galeria, Central Jakarta.<\/p>\n
The explicit meaning of the theme of the exhibition -- which
\nopened March 13 and runs through April 30 -- is unclear.<\/p>\n
In the 20 oil paintings on display, longtime observers of his
\nwork can find no significant change in the painting style he has
\nembraced since the 1970s.<\/p>\n
Human figures, especially female ones, and \"portrait\"
\npaintings remain his favorite theme.<\/p>\n
Jeihan's human figures have become his trademark. They are
\npresent in different poses and gestures -- in repose, sitting,
\ndaydreaming, leaning, staring, etc. The faces are delineated by
\nblack eyes and a cold expression.<\/p>\n
They are taken out of their backgrounds and seem to hang at a
\nnondescript point in the air far from the earth. After closer
\nobservation, the impression turns out to be mistaken.<\/p>\n
In this exhibition, the characteristics of the artworks remain
\ndominant.<\/p>\n
One or two of his works show a change in aesthetic approach,
\nbut it is not very striking, as in Isma (1997), Lala (1997) and
\nNiki (1998). To see the innovations, one has to compare the works
\nwith his previous pieces.<\/p>\n
Jeihan's figures generally present women's beauty (in several
\nof his other paintings not presented in this exhibition, he also
\npainted figures of children, adults, old men, landscapes, animals
\nand temples).<\/p>\n
His female figures are usually drawn from the local
\nenvironment or close friends; Jeihan usually uses the latter as
\nhis models. He will observe the model, taking notes, and then go
\nto his canvas to start drawing. He does so in the belief that to
\npaint is not to represent, but rather to present what is in the
\nartist's heart.<\/p>\n
With this philosophy, Jeihan is free to make changes to his
\nmodel by lengthening, thinning or softening parts of the body
\naccording to the aesthetic importance which he wants to achieve.<\/p>\n
It is for the sake of this esthetic that distortion and
\ndeformation cannot be avoided; one does not need to question
\ndetails of forms and anatomic precision to enjoy his paintings.<\/p>\n
In modern esthetics, the relation between emotion and
\ninterpretation is considered important.<\/p>\n
Thus it is no surprise if almost all of Jeihan's paintings
\nhave many anatomical deviations and that deviation makes up the
\nstrength of the figures, which can fill the empty spaces
\nwithout looking odd.<\/p>\n
It is clearly observed in Toha (1982), Siti (1979), Murni
\n(1997) and other 1990s works such as Merah Menyala (Burning Red,
\n1991) Par (1995), Mirna (1997) and the most extreme Syarifah
\n(1997). Jeihan cannot be categorized as a model painter because
\nthe latter generally relies on his model. In contrast, Jeihan
\nrelies on his conscience.<\/p>\n
However, Jeihan considers sketching important because it helps
\nhim record life and figures around him. He makes sketches as
\nnotes and leaves them unfinished. Only one or two of his sketches
\nare presented as a finished work.<\/p>\n
Typical characteristics of Jeihan's paintings are the black
\nlines he draws to form a figure. The lines are applied smoothly
\nwithout pressure. Art critic Jim Supangkat notes that Jeihan
\ncannot be categorized simply as an expressionist painter. The
\nexpressionist tone in his works is not emotional and spontaneous
\nbecause it involves reinterpretation and change in image from
\nrepresentative to expressive, showing personal interpretation.<\/p>\n
Jeihan often uses a pallet knife as a tool or way to paint his
\nfigures. This is a way Jeihan controls his emotion so that rarely
\ndoes he show an outburst of emotion which is often seen in
\nexpressionists. However, in several of his more recent paintings,
\nlike Isma, Lala and Niki, he did not use the pallet knife but a
\nbrush, a sign of him setting loose his emotions.<\/p>\n
As mentioned before, every pose of Jeihan's figures has been
\ncleaned of realities around them, such as a table, chair,
\nequipment, wall, etc. But every figure has a certain pose, as in
\nMerah Menyala Bunga (Flower, 1993), Ivi (1994) or Ratih (1994).
\nObjects around the figure are not painted but only implied.<\/p>\n
Light and dark are generally neglected. Should there be
\nnuances of light and dark, they are not meant to represent light
\nor illusion. They are only a combination of colors on the canvas.
\nIn this case, Jeihan proves he is a \"modernist\" who believes that
\npainting is painting, a world with its own logic. Painting is not
\na work that transforms reality into illusion.<\/p>\n
The face of every figure is not a special part, yet it
\nrepresents the most of Jeihan's esthetic strength. The blackened
\neyes of every figure are not meant to simplify the form but to
\nannihilate what he calls the \"hierarchy of reality\". With the
\neyes blackened, the figures do not have to show if they are sad
\nor happy. In other words, the figures do not have to express with
\ntheir eyes whatever they have to bear.<\/p>\n
Jeihan's change in style is apparent in works such as Niki,
\nLala and Isma, where he applied a different esthetic approach.<\/p>\n
In these later works, Jeihan wants to better catch the essence
\nof the object. Sketches are given meaning. With minimal touches,
\nnot the whole figure is covered with paint. It seems that Jeihan
\nwill follow this minimalist trend for his future works.<\/p>\n
Among works conforming to the trend are Mabit di Mina, Tawaf
\nand Jumrah that he will put on display on April 27 when he is
\nscheduled to feature his works with painter Hidayat at Galeri
\nCipta II at Ismail Marzuki Cultural Park.<\/p>\n
Asked about his change in style, Jeihan said: \"All art becomes
\nabstract, no copying, and the artist follows his heart.\"<\/p>\n
His statement seems to show a deep spiritual experience from
\nhis recent haj pilgrimage with his wife.<\/p>",
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