Three artists explore symbolism through masks in Yogya<\/p>\n
Text and photos by R. Fadjri<\/p>\n
YOGYAKARTA (JP): When art becomes an expression wrapped in
\naesthetic values, symbolism is the preferred choice. Even
\nrealism, which aims to convey a more clear message, contains
\nsymbolism, adding its own value to a painting.<\/p>\n
Such symbolism, through various styles, is depicted in the
\ndisplay of works by artists Alex Luthfi, Titoes Libert and
\nIswanto at the Baleanda Gallery in Yogyakarta, which runs to Jan.
\n13.<\/p>\n
In a culture where open expression is subdued, symbolism
\nflourishes. People tend to feel more comfortable in communicating
\nthrough symbols, in the hope of avoiding open conflict. Euphemism
\nis preferred over clear expression.<\/p>\n
The spirit of symbolism goes hand in hand with conventional
\nartistic expression, which highly values refined representation.<\/p>\n
Art works become scattered with symbolism, sometimes causing a
\ngap with the art audience. But with more openness in society,
\nsymbolism becomes more forward, and the intended message is
\ncaptured more directly by the audience.<\/p>\n
As the word discloses, the topeng (mask), depicting various
\nhuman characteristics, provides one form of symbolism. Artists,
\nespecially dancers and those in the fine arts, find in the mask
\nunique and endless ways to hide the real form by artificial
\nexpressions of certain characteristics.<\/p>\n
This is the subject of the 12 works by Titoes Libert. In
\ndecorative style the professor from the Yogyakarta-based
\nIndonesian Institute of Fine Arts wraps various masks in his work
\nentitled Tiga Wajah Brengsek (Three vulgar faces).<\/p>\n
In this work one mask fills the middle of the canvas, and on
\nboth sides two masks portray the clown characters in traditional
\nwayang (puppet) stories.<\/p>\n
The eyes and mouths of the masks follow the traditional style.
\nAt the top of the canvass a row five masks is featured, and the
\nrest is splashed in primary colors.<\/p>\n
The decorative spirit dominates Libert's work. Tree of Life
\npresents four masks forming rows on a branch, with other masks
\nbetween the branches.<\/p>\n
This reveals the actual function of the mask, hiding the true
\ncharacter behind a mask, so that only the beauty of the mask is
\nvisible.<\/p>\n
Verbal expression<\/p>\n
Iswanto plays with masks, in more disguised forms, through his
\n12 paintings. Masks are covered with almost verbal expression.
\nIswanto not only uses masks as the abstraction of the face, but
\nalso other parts of the body such as the hands, or even just the
\neyes or nose.<\/p>\n
In his collages he takes the form of a nose or, in another, a
\npair of eyes, and brings these together with torn pieces of
\nnewspapers and magazines. The printed words on the papers are
\nmixed with other words, or letters applied in paint. Irregular
\nstrokes of bright paint fill the background.<\/p>\n
On the contrary Alex Luthfi, also an Indonesian Institute of
\nFine Arts professor, is more clear with his masks, using them as
\ncaricatures. His nine black and white works features a pig's head
\nmanifesting the wild nature of humans. Social issues are
\nincluded: the appropriation of agricultural land for a golf
\ncourse, employees playing up to their bosses and human greed.<\/p>\n
Luthfi perceives the pig as greedy and detestable. "Many
\npolitical leaders act like pigs," Luthfi said.<\/p>\n
His painting entitled The Legend of the Golfer, on two sheets
\nof paper, features a pig's head with sharp fangs and a human
\nbody, posing like a wayang with joints on his arms and legs.<\/p>\n
Dogs' heads pose fiercely behind the man-pig, on whose feet
\nare golfers' shoes, studded with sharp nails underneath, standing
\non a helpless human.<\/p>\n
Luthfi's The Era of Pigs in Ties shows the common practice of
\nsucking up to superiors. A man-pig wearing a tie is eying a
\nfellow pig about to lick the behind of another.<\/p>\n
Symbols of the white-collar class using ties, pigs' heads and
\nfeudalist-like figures dressed in Javanese raja (king)
\nheaddresses, are used to convey the exploitative nature of
\nauthority towards the underprivileged.<\/p>\n
Less clear messages are also found in Luthfi's works as he
\nseems to be uncertain regarding composition. Luthfi fills his
\ncanvasses better through the expressive style.<\/p>\n
The display succeeds in highlighting one theme, with a mixture
\nof styles and techniques, from which we gain more understanding
\nof symbolism as a mode of expression.<\/p>",
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