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.