Wahyudi a master at clever global parodies<\/p>\n
By Aendra H. Medita<\/p>\n
JAKARTA (JP): In the graphic arts, creating extraordinary
\npower in the exploration of visual forms is more than a mere
\nprocess. It centers on an understanding of concept and technique.<\/p>\n
Supangkat Wahyudi, who has hundreds of graphic artwork to his
\ncredit, selected 30 of them for the exhibition Kodok Tumpak Jaran
\n(A Frog Riding A Horse) at the Milenium Gallery at Jl. RS
\nFatmawati 15, South Jakarta, until June 18.<\/p>\n
The works show Supangkat Wahyudi's success in meeting the
\nrequirement to skillfully use technique in making powerful
\nimages. He has adequately recorded the power of global
\nvisualization, but what is more special about him is that he no
\nlonger creates his works from a standard printing process.<\/p>\n
The works, created in the last six years, have been directly
\ncreated on raw materials generally used in woodcuts. His objects,
\nwhich are global in nature, range from derision to well-founded
\nparody. He has responded to the strength of the objects with his
\nartist's attitude when confronted with the reality of the world.<\/p>\n
Inherent in his works is a need to convey the metamorphosis of
\nthe world's great figures like Picasso and Einstein. His works,
\nwhich many tend to consider as no longer belonging to the strict
\ngraphic arts definition because they are drawings on plywood,
\nreflect the present context, especially through the criticism
\nconveyed in the titles of the works.<\/p>\n
Supangkat, 43, graduated from the graphic arts department of
\nthe fine arts school of the Bandung Institute of Technology (ITB)
\nin 1986. Art runs in his blood as his grandfather was a leather
\npuppet master and his grandmother a batik maker. He became deeply
\ninterested in art after taking lessons from Harto PR at the Fine
\nArts Secondary School (SMSR). His works have attracted audiences
\nboth at home and abroad, for example in Malaysia, since 1987, the
\nyear when he first exhibited some of his works.<\/p>\n
Details of objects in his works testify to his patience in
\nprocessing his spirit and experiences, on which his search for
\nthe global power is based. His visualization draws heavily on the
\ntumultuous world and a life that he has ceaselessly got in touch
\nwith through hard work and seriousness.<\/p>\n
This time, however, Supangkat introduces a new esthetic idiom.
\nAlthough the objects in these works are far removed from the
\nreality of nature that the public can easily identify, it is not
\nwithout maturity of mind and technique that Supangkat has created
\nthem.<\/p>\n
With the application of monochrome colors, greater poignancy
\nis reflected from the works that have been created as woodcuts or
\nthose made with a shaving technique. In addition, he seems to be
\nalso offering a mirror of a modern pattern symbolized in his own
\nstyle in the context of satire and ridicule.<\/p>\n
Musyawarah Mufakat Untuk Menjilat Bersama (Deliberation For A
\nConsensus To Kiss Up Together, 1995) shows five dogs as the focus
\nof attention, with skyscrapers in the background, as if
\nsuggesting that global power and the prevailing megacities were a
\ntrue reflection of the world today.<\/p>\n
A similar theme is found in Baca Aturan Main, Bila Sakit
\nBerlanjut, Rasain Lu (Read The Rules Of The Game -- If The
\nIllness Persists, You Have Learned Your Lesson), 1999) and Kridit
\nPangkal Gaya (Loans Allow One To Have Style, 1997). In \"Habis
\nGolf Rakyat Berang\" (After Golf, People's Fury, 1999), a work
\nthat features the photograph of Kartini, there is a view of a
\ngolf course with some people running amok.<\/p>\n
Jeritnya Nyaris Tak Terdengar (The Shriek Is Almost Unheard,
\n1997) parodies an automobile advertisement showing the onslaught
\nof instant food products. There is a burger and in the opening of
\nthe bun, there are two sausages, vendors selling meatballs and
\nlontong (rice steamed in a banana leaf). All of them are squeezed
\ntogether, but their shrieks are unheard. The strength of the
\nmischievous and ironic parody is derived from its view of the
\ntrend of a global culture marginalizing small-scale vendors and
\nthe small people.<\/p>\n
Supangkat's works also show the metamorphoses of world greats
\nlike Einstein, Picasso, Mona Lisa or even Bill Clinton in his
\nrelationship with Monica Lewinsky.<\/p>\n
In Einstein Terjaring AIDS (aku ingin duit sekarang) (Einstein
\nIs Infected With AIDS (I want some money now), 1997) for example,
\nthe picture of this great scientist is placed next to an ATM. In
\nMaaf Kami Tak Sanggup Menatap Karya Tuan Picasso (Sorry, We
\nCannot Afford To Gaze At The Works Of Mr. Picasso, 1997),
\nPicasso's works are presented in their own power, but with the
\npresence of two children being carried and refusing to glance at
\nthe works.<\/p>\n
In Monalisa Lali Weton (Mona Lisa Forgets Who She Was), the
\nfigure of Mona Lisa is drawn exactly like Leonardo da Vinci's
\noriginal, but one of her hands is clutching a cellular phone
\nwhile a watch is around one of her wrists. As for the work called
\nSelingkuh Enak Di Coba Dan Perlu? Komentar Anak Singkong Tentang
\nClinton Dan Monica (Are illicit Love Affairs Nice To Try And Are
\nThey Really Necessary? The Comment Of One Who Lives On Cassava
\nAbout Clinton And Monica), there are four children and a mother
\ncarrying a child in a sling. A White House stands beside them,
\ncontrasting with the images of the children.<\/p>\n
The symbols he presents through great figures or other objects
\nWrender his works fraught with restlessness. In this respect, the
\nspontaneous cut of a line will make the figures in his paintings
\npossess their own strength. The figures are no longer objects
\nthat can be manipulated. They show a style coming from inside.
\nPerhaps the adventure in these works is more contemplative in
\nnature than usual, so that the impression of an understanding of
\nhis adventure has been wisely conveyed in detail by means of a
\nperfect technique.<\/p>",
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