Sakato shows the fine art of West Sumatran culture<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): The works that appear in the exhibition of West
\nSumatran fine art at Hotel Ciputra, West Jakarta, do not seem to
\nshow the influence of previous generations of West Sumatran
\nartists such as Wakidi, H.A. Ramli Dt. Rangkayo Sati and Itji
\nTarmizi.<\/p>\n
What is more apparent in the exhibition is the influence of
\nthe Indonesian Fine Arts Academy in Yogyakarta (ASRI), which is
\nnow known as the Indonesian Fine Arts Institute (ISI). In fact,
\nall the exhibiting artists originally come from West Sumatra, are
\nalumni of Yogyakarta's ASRI or ISI, and part of a group known as
\nSakato.<\/p>\n
The "Exhibition of West Sumatran Artists" is being held from
\nMarch 25 through April 17, 2000.<\/p>\n
The work of Darvies Rasjidin, Keperkasaan yang Dikebiri
\n(Maimed Strength), shows three human figures whose skin appear
\nlike the shell of a cracked egg. They are bound with a kind of
\nselendang cloth. Two figures on the sides, blue in color, hold a
\nrose in their hands. They flank a central figure, light brown in
\ncolor. The hands of the central figure are bound by a rope coming
\nfrom the top of the canvas. Above the figure is a large
\nterracotta-colored circle, with a figure of a horse at the
\ncenter.<\/p>\n
Certainly this is not a realistic rendition of an actual event
\nthat happened, but is more symbolic in nature. The figures are
\ntransformative, going through a metamorphosis. Or it even could
\nbe said that they are surrealistic. It is perhaps safe to say
\nthat this painting has typical traits of ASRI\/ISI.<\/p>\n
Mengurung Diri (Self Confinement) by Ardison shows a female
\nfigure carrying a child in front of a wall with a door. This work
\nwas executed by painting the canvas the texture of wood, so that
\nthe figure seems like a sculpture.<\/p>\n
Ardison is a student of sculpture who chose to explore
\npainting as an alternative medium of expression. While Darvies
\nRasjidin's work is more symbolic, Ardison's painting also shows
\nmetamorphosis in terms of medium. Once again, we see that there
\nis a strong Yogyakarta influence in the paintings of these West
\nSumatran artists.<\/p>\n
However, works of the younger West Sumatran artists have also
\ncontributed to forming the character of ISI artists. Keadilan
\nUntuk Semua (Justice for All) by Erizal A.S. is a typical
\ncontemporary piece by ISI graduates.<\/p>\n
Naturally, a questions emerges: do these artists neglect their
\nWest Sumatran cultural identity?<\/p>\n
The Yogyakarta art critic Suwarno Wisetrotomo observes that
\nWest Sumatra artistic expression has been marginalized because of
\nthree reasons: "the existence of a impartial distribution of
\ninformation, the weakness or even lack of infrastructure and the
\nlack of a tradition of patronage in the region."<\/p>\n
However, according to him, younger artists "make an effort to
\ndevelop new possibilities in advancing their artistic careers by
\ngoing to Java and undertaking higher fine art education at ASRI.<\/p>\n
"The young artists exist in a circle of creative process that
\nis filled with collisions, abrasions and explorations, in a
\nspirit to find their new identity."<\/p>\n
To be sure, what is called West Sumatran culture is not
\nsomething that is definitive and can no longer change. The
\nculture is still developing and exists in a continuous process of
\nchange and renewal.<\/p>\n
Although not directly, the artists seem to be influenced by
\nthe spirit of West Sumatra, such as Oesman Effendi and Nashar dan
\nZaini, who tended not be too concerned about the importance of
\nrepresenting their ethnic identities in their works.<\/p>\n
The three artists, who coincidentally were the main founders
\nof the Fine Art Faculty of the Jakarta Arts Institute (IKJ),
\nespecially Nashar, place more importance on total freedom of
\ncreativity.<\/p>\n
From this freedom, every artist can purely create works of
\nfine art that in the end will reflect their cultural and ethnic
\nidentities. Therefore, although their West Sumatran identity
\nmight not be apparent in their works, the Sakato artists actually
\ntake an active part in developing West Sumatran culture.<\/p>",
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