Bandung artist ropes in hedonism
Bandung artist ropes in hedonism
By Pavan Kapoor
JAKARTA (JP): As humankind prepares for a new millennium, the
breakneck pace of civilization urges societies to pursue
relentlessly a vast range of global pleasures. We are arduously
aiming to keep up with the latest invention, latest brand and
trendiest product. We are constantly trying to improve our status
and climb to the top of the heap without realizing that the world
is spinning around at a dangerous breakneck pace.
Veri Apriyatno, an abstract surrealist artist from Bandung,
feels keenly the effects of this rampant globalization. His
latest exhibition is appropriately entitled Perangkap Hedonisme
(Hedonism Trap). The show at the Japan Foundation, Summitmas
building, Jl. Jend. Sudirman, South Jakarta, runs until Feb. 26.
Veri works in three very different mediums. The first two
expressions are traditional oils and acrylics worked on large
scale canvases. These images are about the ensnaring effects of
globalization and civilization on contemporary life.
Playing with a more experimental process are his candle wax
and plastic combinations combined with a unique printing
technique. The works in this self-invented mixed media technique
are an attempt to trace the origins of the economy of Indonesia
and the subsequent meltdown of the political and economic
infrastructure.
Works such as Komoditas Tontonan (Showbiz Commodities),
Komoditas Tubuh (Bodily Commodities) and Perangkap Semiotika
Citraan (Image Semiotic Trap), are the nucleus of Veri's concept
of hedonism. A common iconographic element are the flailing
figures who seem to flit in and out of consciousness and struggle
against the sturdy ropes that bind them.
Between the binding ropes are countless logos and signs of
popular branded goods. Look for SCTV and TVRI, the television
stations that aggressively compete for an ever increasing slice
of audience share, logos of luxury cars such as Mercedes and BMW
and the franchise restaurants Planet Hollywood and Hard Rock Cafe
that have revolutionized the concept of a trendy evening out.
"They are the signatures of today's lifestyle and portray my
disillusion with the stranglehold materialism has on society,"
Veri said.
In Komoditas Tubuh robotic women, incarcerated in metallic
binding, balance on metallic beams that in turn form a complex
maze in the dizzy heights of a surreal locale.
"The aspirations of people to achieve the highest rung of
success with the minimum of time and effort is the inspiration
for this painting."
Veri traces the development of his social observations
synonymously with the development of color, form and detail in
his series Ikatan Dalam Bersamaan (Knots of Togetherness) I, II
and III. Worked in acrylic and charcoal, the apparent grip of the
rope and twist to the knots appears more brutal in Ikatan Dalam
Bersamaan II than in I and even more so in III than in II. The
addition of color in the last of the series represents the
introduction of glamour into society; the strength of the knotted
ropes mirror the complicated life the artist experienced then.
Hedonism: the rampant pursuit of pleasure with the singular
aim of achieving popular and status-endowed products is ravaging
the former ethics and ideals that formed the backbone of beliefs
in former days.
In tune with this disparagement of capitalism are his comments
on evaluation of the images: "these paintings represent my
innermost thoughts and feelings... I have no idea how much they
should cost and so at the moment I leave them for my personal
collection".
Veri's technical creativity is evident in his mixed media
works. He uses candle wax and plastic as a medium to print
figures and currencies he has created from reliefs and collages.
The technique was discovered by the artist quite by accident -- a
method in which many creative breakthroughs happen.
A fragmented economy is represented in his series Perangkap
Materialisme (Materialism Trap) I, II and III. In the series Rp
50,000 notes were reprinted on plastic and wax frames. Figures
bound by nylon rope -- curved in a contrary graceful prowess --
were adhered to the piece.
Inspired by the economic and political turmoil that followed
former president Soeharto's resignation is his series
Tigapuluhdua tahun Orde Baru (Thirty-two-year New Order) I, II
and III. Using the same experimental technique of wax and
plastic, the Rp 50,000 notes are fragmented and the plastic half-
sculpture half-painting of Soeharto's face is surrounded by
layers of rope symbolizing the turmoil that surrounded his
presidency.
The tradition of turning ones gaze to the outside world and
using art to voice criticism is a long and honorable one. Veri's
observations cast current events and commodities in a modern
innovative form.