Nasution `violates' graphic art conventions<\/p>\n
By Yenni Kwok<\/p>\n
JAKARTA (JP): Most graphic-art works are done on paper, but a
\n\"violation\" of the convention by internationally-renowned graphic
\nartist Marida Nasution unveils new possibilities.<\/p>\n
Nasution is exhibiting her graphic-art works under the title
\nProgress at the Fine Arts Exhibition Building here. The
\nexhibition, which has been hailed by critics and will last until
\nJuly 14, shows her love of the serigraphic technique, or screen-
\nprinting. She has employed this technique since her first exhibit
\nin the early 1980s and has exhibited her work in South Korea,
\nGermany, France as well as other countries.<\/p>\n
Her central piece is also called Progress (Transformation) and
\nis inspired by the natural cycle of growth, maturity and
\ndestruction, said Nasution.<\/p>\n
It is significant because the medium of narration is extended
\nbeyond a piece of paper in what is called \"installation
\ngraphics\".<\/p>\n
Progress consists of 30 \"trees\", printed on a 90 cm x 4.5 m
\npieces of paper. Nasution arranged and hung the vertical pieces.
\nThe 30 trees are grouped into three separate sections. There are
\n10 young trees signifying growth, 10 mature ones symbolizing
\nmaturity and perfection and the remaining 10 old trees embody
\ndeath and decay.<\/p>\n
The trees are generic and have no specific names because they
\ncame from her own world of imagination, Nasution said.<\/p>\n
\"I only wanted to express the law of nature, that there is
\nalways growth, maturity and destruction. Though my efforts to
\nconvey the message may not be as strong as it should be, I hope
\npeople can understand what I mean,\" added the 38-year-old artist.<\/p>\n
The arrangement resembles living trees in a forest. Nasution
\nthen uses 30 small spotlights to alternately illuminate the
\npictures, starting from the most immature to the most decayed
\ntree. This combination guides the audience in understanding her
\nmessage of progression.<\/p>\n
Additionally, she accentuates the piece with rain forests
\nsounds, such as blowing wind and buzzing insects.<\/p>\n
Jim Supangkat, a noted art critic, hailed Nasution's bravery
\nand creativity in arranging Progress.<\/p>\n
\"This arrangement, which uses lighting and sound effects,
\nmakes a theatrical impact. Based on my observations, people tend
\nto keep a distance between them and the art pieces,\" said
\nSupangkat.<\/p>\n
Positive violation<\/p>\n
Graphic-arts are usually printed on a piece of paper, framed
\nand kept behind glass, said F.X. Harsono, another art critic.
\nTherefore, when Nasution decided to use lighting and sound in her
\nart, she broke today's conventions.<\/p>\n
\"But it is a positive violation,\" Harsono added. Nasution
\nsucceeded in making the printed paper become an element of the
\nroom, he commented.<\/p>\n
Other than the spotlights and the 30 giant pictures, the rest
\nof the exhibition room is empty.<\/p>\n
Supangkat praised Nasution's decision to leave some parts of
\nthe room empty. \"Most people would avoid empty spots because they
\ntend to give a sense of the unfinished.\"<\/p>\n
Other artists would generally try to use real plants, in
\naddition to the pictured trees, but that would give an impression
\nof moving the outside into the exhibition room, Supangkat said.<\/p>\n
\"Because of the empty spots, people's attention is directly
\ndrawn to the artwork,\" added Harsono.<\/p>\n
Nasution did not merely follow other artists in her decision
\nto explore three-dimensional art said Supangkat, who has followed
\nher career since her first exhibition, but \"it is a progression.\"<\/p>\n
Harsono also hailed Nasution's originality in choosing a
\ntheme. \"She experiences and feels things, then she pours
\neverything out... There is a personal involvement between her and
\nher object.\"<\/p>\n
The audience can see a change in themes between this year's
\npieces and the ones printed years ago. This is reflected by her
\nregular-size work displayed in the other rooms.<\/p>\n
In the previous years, Nasution's artwork was about people and
\ntheir social environment, as in Yang Terlupakan (The Forgotten
\nOnes) or Berenang (Swimming).<\/p>\n
This year, however, much of her art is about the natural
\nenvironment, which is reflected by a conspicuous presence of
\ntrees and other plants.<\/p>\n
The trees can be the central view point, such as in Pohon
\nBesar (The Big Tree) or Bunga-Bunga (Flowers). The plants,
\nhowever, can also be supplementary as in Picnic.<\/p>\n
In that piece, the main object is a couple, who are picnicking
\non the grass, while the big trees are relegated to the
\nbackground. Thus, there remains a strong sense of a natural,
\ngreen environment.<\/p>\n
\"Shifting themes is normal because artists are always a part
\nof an environment. It can be a natural environment, a social
\nenvironment or a political environment,\" said Harsono.<\/p>\n
There are 30 of the regular-sized pieces. Nasution intends to
\nsell most of them for a price ranging from Rp 400,000 (US$185) to
\nRp 750,000.<\/p>\n
Progress, however, will not be sold Nasution said.<\/p>\n
Graphic-artists need to retouch and print several copies
\nbefore they finally obtain the desired piece, said Supangkat. All
\nthese copies can be sold which allows graphic-art work to be less
\nexpensive than other fine-art works.<\/p>\n
However, the artists cooperate to retain their exclusive value
\nby limiting the reproduction their pieces to no more than 200
\ncopies.<\/p>\n
Most of Nasution's exhibited pieces consist of 10 copies, far
\nbelow the conventional amount.<\/p>",
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