People take center stage in Vadin's photos<\/p>\n
By Aendra H. Medita<\/p>\n
JAKARTA (JP): It's proof of talent when a young photographer
\ncan put himself among the people and document their lives in
\nworks that are clever, always natural but in no respects
\nordinary.<\/p>\n
The lens of Rasdian Avalokiteswara Vadin explores themes often
\nlabeled \"human interest\", telling stories of the impoverished
\narea of Gunungkidul in Yogyakarta, the Yogyakarta Palace, the
\ngeneral election campaign, market life, even the commemoration at
\nGadjah Mada University of the one year anniversary of the fall of
\nSoeharto.<\/p>\n
They are not new or innovative subjects, especially the images
\nof demonstrations in recent years, but Vadin approaches them in
\nan interesting and novel manner, as shown in his exhibition Wajah
\nyang Kita Warisi (The Face We Have) at Galeri Lontar in the
\nTeater Utan Kayu complex at Jl. Utan Kayu 68H (tel. 857-3388) in
\nJakarta until July 5.<\/p>\n
The 40 photographs produced during 1999 and 2000 are shot from
\nangles in which the human figure takes precedence over the large
\nmaterial icons, the usual center of a photograph, which serve as
\nthe background. In works such as Berburu atau diburu (The Hunter
\nor the Hunted) and Batman di Sekaten, the space is ideally used
\nto put a person or people at the center of the viewer's gaze,
\nthereby eliciting the maximum response.<\/p>\n
It is as though Vadin waited for a human figure to enter the
\nframe, putting a face on the impersonal background and breathing
\nlife into a commonplace scene. It is not an easy feat to
\naccomplish, requiring the patience of the photographer to wait
\nfor the right moment when all the elements come together for the
\nperfect picture.<\/p>\n
With the turmoil of the last few years, there is inevitably a
\nstrong political side to the photographs of this 24-year-old
\nnative of Ngawi, East Java, who studied graphic design in
\nYogyakarta and graduated with a degree in photography from the
\nIndonesian Institute of the Arts in 2000 (he has also been a
\nphoto contributor for Republika and Kedaulatan Rakyat dailies).
\nFor example, many of the works show the demonstrations around
\nGadjah Mada University, such as the symbolic \"burial\" of Soeharto
\nafter his 32-year rule.<\/p>\n
One of his most powerful images shows Muhamad Aman Ridlo
\nduring a demonstration at the traffic circle on the campus of
\nGadjah Mada University. With the photograph taken from behind,
\nRidlo seems bathed in an aura, the heady image compounded by the
\ntattoos on his body and the Molotov cocktail concealed behind his
\nback. It says much more than a simple documentation of the by now
\ncommon sight of a student about to unleash his anger through
\nviolence.<\/p>\n
Perhaps a failing in Vadin's works is the lack of innovative,
\ncatchy titles for the photographs. Many of them are only
\ndistinguished by being given the name of the geographic location
\n-- Gunungkidul, Tugu Utara Yogya, Wonosobo -- without going
\nfurther. It is not a great disappointment, but it detracts from
\notherwise powerful works which, by their very nature, give Vadin
\nthe opportunity to create provocative titles which draw the
\nviewer in and play up the profound human interest of the subject.<\/p>",
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