Exhibition reveals contrasting styles of local snappers

Exhibition reveals contrasting styles of local snappers

By K. Basrie

JAKARTA (JP): Kayus Mulia and Eky Tandyo are both members of
the Association of Indonesian Professional Photographers. But,
viewing them from many angles, it is obvious the two are very
different.

In their world, the distinction between them is akin -- both
literally in the exhibition as well as figuratively -- to the
differences between black-and-white and color prints.

In terms of professional experience, Kayus, for instance, had
already learned photography before Eky was born.

As to their education backgrounds, Kayus graduated in
architecture in Germany and also studied at the Brooks Institute
of Photography in Santa Barbara, California. Eky was, in
contrast, a dropout from the graphic design school at Trisakti
University in Jakarta.

Long after Kayus had opened his studio, Eky was just starting
to find his way in the world of professional photography.

Being grouped in similar associations, however, cannot conceal
their differences.

Their joint exhibition, currently at the Plaza Menteng
shopping center here, sheds further light on their distinctive
egos.

Both display 22 of their "grand" pieces taken with large
format cameras between 1994 and 1998 and their rivalry to attract
the visitors' attention is obvious.

As if racing to an unreachable finish line, both stick to
their own styles to reinforce their individuality, making the
exhibition at the tiny Cahya photo gallery look like two
extremely different expos that happen to be hung together.

Kayus' collection is of vivid black-and-white works while Eky
has gone for sparkling color photographs in the exhibition that
carries the theme of "Fine Art Photography" and runs through
Monday.

The concepts and settings of the shots reflect the unmatched
characteristics and tastes of the two pros.

Eky's works are all taken in a studio, while Kayus' are of
outdoor objects taken on hunting trips both in Java and overseas.

In an interview with The Jakarta Post last weekend, Eky said:
"I always get the concept in my mind first before taking the
shots. But Kayus does the opposite.

I use much symbolic language, albeit not that deep-meaning. My
symbolism is transparent, easy to decipher and communicative."

His "rival" Kayus described his own approach: "Everything on
this earth has been photographed. We can only differentiate
ourselves from others by presenting the ordinary extra-
extraordinarily."

One of Kayus' works, titled Electric Pole, Perth, depicts an
old, fractured wooden telegraph pole and wires with a dull sky in
the background. This clearly represents his thoughts about "an
ordinary extraordinary" object.

The picture sparked numerous comments from visitors, most of
whom were young photography enthusiasts.

"Why did Pak Kayus have to go to a place as far away as Perth
(in Western Australia) to take a picture of a telegraph pole if
he could take hundreds of similar scenes here in his own
country?" asked student Didiet from Bandung.

Eky's Help (Women's Right) was many visitors' favorite shot.

Portraying a heavy brown boot about to step on a little green-
yellow-and-black butterfly, the aim "is to illustrate the current
state of women in this country", he said.

While Kayus' work can be understood in a flash, Eky's are
different. Visitors are invited to interpret the meaning based on
just the pictures and a brief caption.

"It's my goal to give people freedom to form their own
interpretation of my work," Eky said.

The only similarities between the two artists' works, in what
is their first joint exhibition, are the black and white frames
and the prices!

All the pictures, most of which are 30 cm by 40 cm, cost Rp
1.5 million (US$200) each.

"Never say 'surrender' to the crisis. Keep up your creativity
and let's see (business) opportunities during this time of
hardship," Eky said.

As professionals in their field, Kayus and Eky have been
methodical and thorough in preparing for the exhibition, which is
drawing to a close after being displayed in Yogyakarta (in June)
and Bandung (in September).

The lights, the display boards and the prints are all
perfectly prepared to present an ideal and enjoyable exhibition
venue.

This, however is in contrast with the building, which has
become so quiet in the wake of many of the shops being forced to
close due to the current crisis.

But overall, these two photographers' distinct concepts
contrast nicely. And at least Kayus knows how to guide a junior
into the world of seniority.