Artists turn the ordinary into art

Sri Wahyuni, The Jakarta Post, Yogyakarta

Works of art do not always represent complicated subjects; an artist can imbue ordinary objects and scenes with new significance, even those daily concerns that have become so commonplace we have ceased to notice them, such as our eating habits.

The Affandi Museum's "Threshold" exhibition features six painters and their exploration into mundane activities and the human condition. The artists -- Agapetus A Kristiandana, Edo Pillu, Joko Sulistiono, Redy Rahadian, Syahrizal Pahlevi and Wahyu Gunawango -- go beyond a merely realistic depiction of everyday life and breaches a philosophical insight into humanity.

Pahlevi cuts and paints hardboard into portraits of ordinary people that crosses his path.

Harmanto, for example, is a close-up of an employee at the Bentara Budaya Yogyakarta (BBY) cultural center, while Marjuki (35), portrays a frame shop owner, complete with address and Marjuki's cell phone number.

In another work, At Pugung, Tanggamus, Meet Dr. Herman, Pahlevi paints a portrait of his younger brother, Herman Syahriar, who is the head of the Pugung Community Health Center in Tanggamus.

Through his paintings, it seems he is promoting as well as showing respect to his subjects, who have played some key contributing role in their disparate professions. Harmanto, for example, is a prominent figure in publicizing events organized by the BBY. Marjuki helps artists -- like Pahlevi himself -- by providing fine frames for their paintings, while Herman provides medical care to local residents.

Through his work, Pahlevi reminds viewers that sometimes, we fail to notice the kindness and good deeds of ordinary and perhaps unimportant people around us, no matter how great their contribution.

The same theme of exploring simple, daily and seemingly insignificant subjects is also reflected in Wahyu Gunawan's work, Bladhog Wicaksono, which depicts a fat man enjoying a cornucopian banquet.

Local art critic Suwarno Wisetrotomo says the painting shows the Wahyu's perception of eating -- that eating is not just a routine ritual to satisfy one's hunger, and also has a cultural and religious significance.

Eating, Wahyu believes, is a representation of desire, of how to eat, what to eat and how much someone should eat, Suwarno said.

"Eating, therefore, could be a reflection of someone's identity or moral existence," he said.

The title, Bladhog Wicaksono, is contradictory, as bladhog in Javanese means voracious or glutton, while wicaksono means wise. So Bladhog Wicaksono raises the question as to how a voracious man could act or behave wisely.

Wahyu's other works that explore the theme of consumption include Aku Makan Maka Aku Ada (I eat, therefore I exist) and The Good Servant.

According to curator Kuss Indarto, Wahyu's consumption-themed paintings are interesting because they reflect how the artist reexamines "eating" in juxtaposing its symbolic and exact meanings.

"The threshold between the two meanings is set out on a table to invite appreciation from those viewers who take a bite of it."

Kuss said the word "threshold" was deliberately chosen as the title of the exhibition to describe a transitional space between two positions or places, where creation to distinguish the two from each other can occur.

"In this, artists are assumed to be entities capable of managing the world through their work, their free souls and personal interpretations of a given theme," Kuss said.

Basically, said critic Suwarno, the six artists' work delve into the problem of reality and how they react to it.

"In general, the six artists are trying to discuss a transitional situation they have seen, felt or experienced, which has the potential for self-enlightenment in creating art or to enlighten others through their work," he said.

"Threshold" will be held until Saturday, 24 April, at the Affandi Museum, Jl. Laksda Adisucipto 167, Yogyakarta, Central Java. For more information as to this and upcoming events, the museum can be contacted at (0274) 562593.