Sunaryo offers fresh abstract art<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): When you enter Moom Gallery, you will encounter
\na wall that directs you toward a narrow hall to the left. At the
\nend of the hall, steps lead to the upper floors of the shop-house
\nin which the gallery is housed. The small gallery appears simple,
\nmodest, and even modern. It seems to be a perfect setting to
\nfeature Edi Sunaryo's paintings.<\/p>\n
Edi Sunaryo of Yogyakarta, the decorative artist? Not Sunaryo
\nof Bandung, the abstract artist? No, not Bandung's Sunaryo. I was
\nreferring to Edi Sunaryo of Yogyakarta, the decorative artist.<\/p>\n
Edi Sunaryo is most famous for his monotonous, repetitive
\ncompositions consisting of decorative patterns. Many if not all
\nof his work features a triangular form as the main subject. It
\nmight seem that if you see some of his work, you have seen it
\nall. Certainly, that would be a superficial observation of the
\nartist's work, but that is the perception of many observers.<\/p>\n
Edi Sunaryo was born in Banyuwangi in 1951. He obtained his
\ndegree in art from Yogyakarta's Indonesian Academy of Fine Arts
\n(ASRI -- now ISI) in 1980. He was trained in the academic fine
\nart environment of Yogyakarta, where decorative art flourishes.
\nHe also owes his interest in decorative patterns to his parents
\nand family. His grandmother was a craftsperson, while his mother
\nwove thatched mats. His father was a policeman, but had a great
\ninterest in the wayang.<\/p>\n
In this exhibition at the Moom Gallery, Edi Sunaryo shocks his
\nviewers by departing from his stereotypical appearance. In this
\nshow, his canvases are dominated by empty contemplative voids
\ninterspersed with minimal objects carefully placed in harmonious
\nand balanced compositions.<\/p>\n
Certainly, departing from his typical triangular forms was not
\neasy. In Imaji Segitiga I (Triangular Image I), the artist shows
\na triangular form tilted thirty degrees counterclockwise. The
\ntriangle has a curved bottom, while its upper section is
\ntruncated and set apart from the rest. To the right of the form
\nare black lines appearing to suggest a shadow of the form before
\nit was tilted. Red lines are carefully yet spontaneously
\ndelineated as further aesthetic touches. The triangle remains,
\nyet there is clearly an economy of patterns, while more attention
\nis placed on design and composition.<\/p>\n
Bulan Sabit (Crescent Moon) shows a white curve above a
\nhorizon separating a dark sky and green earth. On the horizon are
\nvague highlights of grey, appearing like a reflection of the
\nmoon. The sky and the earth are depicted using solid blocks of
\ncolor, highlighted with some subtle lines in red or orange. A
\nshape similar to the form of a boat is placed toward the lower
\npart of the canvas. Short strokes of white lines appear like
\nwhite tread fixing the shape onto the canvas.<\/p>\n
In Fosil I (Fossil I), the artist renders a tilted
\ntriangle-like form against a dark background. However, here the
\ntriangle form disappears and is replaced by a fish-like creature,
\npointing upwards. Within the form is a motif consisting of black
\nand white triangles, and close observation of the work reveals a
\nvague key.<\/p>\n
\"Now Yogya's Sunaryo is on an equal footing as Bandung's
\nSunaryo,\" exclaimed renowned collector Oei Hong Djien. True, but
\nwhy even compare? In 1997, Edi Sunaryo obtained a master's degree
\nin fine art from Bandung's Technology Institute (ITB), and his
\ntraining at ITB certainly contributed toward his shift in style.<\/p>\n
However, Oei Hong Djien claims that there is a more
\ninfluential figure affecting this shift, and it is not Bandung's
\nSunaryo nor does the figure have anything to do with Bandung.<\/p>\n
\"I showed Sunaryo a book about Chinese artist Qi Bai Shi. The
\nChinese master succeeded in filling his work with a small insect
\nwhile the remainder of the canvas is left empty without giving
\nthe impression of emptiness. We then discussed that sometimes we
\nhave to fill surfaces by making them empty, while on the other
\nhand filling the entire surface can also make it appear empty,\"
\nexplained the collector.<\/p>\n
Titian (Bridge) shows two shapes painted in maroon on the
\nbottom part of the canvas. The two shapes are connected to each
\nby a straight line that is carefully delineated. A number of
\nsimple lines are added onto the painted surface, adding a
\ncharming and elegant touch. It is the emptiness of space that
\naffords us the room to be able to appreciate the artist's
\nbalanced compositions, aesthetic quality and fine design.<\/p>\n
Edi Sunaryo offers fresh, Zen-like abstractions in his latest
\nexhibition on show at the Moom Gallery, South Jakarta, until July
\n17, 2000. In this exhibition, he shows clear progress, especially
\ncompared to his work from the mid-1990s.<\/p>\n
However, the question is not what he has achieved so far, but
\nwhat he will be able to offer in the future. That is the artist's
\nreal challenge.<\/p>",
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