Fadjar Sidik responds to changing times creatively

By Amir Sidharta

JAKARTA (JP): The works of painter Fadjar Sidik in the 1950s, such as Portrait of Mrs. Abas Alibasjah and Portrait of Wim Nirahua, are figurative compositions which depict the nuances of the time.

They are very different from his works since 1961. Currently, his Dinamika Keruangan or "Dynamics of Space", consists of geometric shapes that are arranged in a harmonious and interesting composition of forms and colors.

They do not always represent the atmosphere or nuance of a certain period. In 1961, there was significant changes in the works of Fadjar Sidik, which were related to his experiences while in Bali for four years (1957-1961).

The painter calls it "the dichotomy between nature and technology." During the early years of his stay in Bali, he lived in Tanjung Bungkok, Denpasar, on the old road to Sanur. Not long thereafter, the main road, which was a dirt road, was upgraded by being given a layer of asphalt.

Later, the state-owned gas and oil company, Pertamina, set up an installation there.

At that time, Bali was going through several rapid changes. The advent of electricity had caused the erection of electric- poles along the main roads. Temples, which were traditionally lit by kerosene lanterns or torches, was equipped with fluorescent lights. Balinese traditional houses started to transform into offices or shop houses.

Since he felt disturbed by the changes, Fadjar Sidik moved to Ubud. However, even before two years passed, Ubud underwent changes as well. A movie theater was built in the center of the town. "Blue jeans and rock & roll music came to Ubud," he said. Those who profited from the boom of tourism, bought cars.

The Barong dance, usually performed during religious rituals, was only performed when there were tourists.

Facing the changes, Fadjar Sidik admitted that he could not stand it and felt annoyed. "I felt really annoyed, because all my favorite subjects which usually appear in my paintings, could no longer be placed in one harmonious environment. It was difficult to compromise nature for technology," he said.

It was true, the traditional Balinese markets with their thatched umbrella-rooftops were more unique and interesting to paint compared to the new markets, built according to governmental decree or instructions. Things like these, bothered the painter.

Actually, the painter could have easily ignored the products of technology and only portray the natural and cultural elements, that were not or have not been 'polluted' by the progress of technology, on his canvases.

However, Fadjar Sidik refused to respond to the changes of Bali romantically as that.

He realized that the progress of technology and development could not be stopped, because it was "a necessary evil" to the era.

The challenge was to harmonize technology and development with nature and traditional culture. It has to be set into his works.

First, Fadjar Sidik responded with explosive expressions. He admitted to have "gotten mad," trying to find forms, rhythms and everything.

This is evident in his painting, Campuhan, which does not portray figurative forms, but is instead more expressive and dynamic.

The colors he used were not always related to the true colors of the nature he tries to depict, but rather are colors that express his emotions.

Also, although still forming figures and shapes, his brush strokes are very spontaneous, thus more expressive. Those paintings surely were the transition from Fadjar Sidik's old style to his new one.

Disappointed with the progress of Bali, he returned to Yogyakarta and accepted an offer from Abas Alibasjah, who was a division head at Akademi Seni Rupa Indonesia (The Indonesian Academy of Fine Art) to became a lecturer, which he still is until now.

Before he returned to Yogyakarta, Fadjar Sidik formulated some impressions of Balinese ornaments and art forms, where he changed simple geometric shapes into abstract forms.

However, he refused to be called an abstract painter. He preferred to be called a designer. "A designer usually designs practical things, whereas the designs I create are emotional and aesthetical," he explained.

The forms he created were not meant to be a representation of nature.

According to the painter, even if recognizable forms appeared, like mountains, fields or moons, it was only the viewer's perception. His works are have been named Dinamika Keruangan, "Dynamics of Space", because they were focused on the negative space on the canvas, not on the positive elements that form the subject.

"In every painting there is always negative space, and it is the dynamics of the negative space which is the "Dynamics of Space"," he said. The negative space to which he refers, is the space between the elements within his paintings.

His "Dynamics of Space" paintings are filled with musical rhythm with the repetition of forms and the use of vibrant colors, which is reminiscent of the works of Paul Klee.

However, the rhythm and music were in fact not his main focus. "Rhythm and composition should appear in any work, and should not be something that is applied purposefully," he said.

His works, which in the beginning were called "Dynamics of Space" were later changed. There were titles such as Metropole, Mandala among others. His works also went through several changes, although not drastically. His latest works are painted with diagonal brush strokes, which adds rhythm to them.

Yet most importantly, he still holds on to his prime principles of the "Dynamics of Space". To overcome the dichotomy between nature and technology, Fadjar Sidik did not become a romantic, on the contrary, he took creative steps, conceptually and philosophically.

Through his works, he tried to find a solution to the dichotomy. If nature, culture and technology were the positive elements, then the negative space became its solution.

Even though he realized that the changes in Bali had made him change his style, Fadjar Sidik has kept an open mind.

He even declared, "Lucky we have tourists!" According to him, tourism has helped Bali solve its dichotomy of nature, culture and technology.

He said that it was certainly due to the guidance of the foreigners who lived long enough in Bali that kept it holding firmly to its cultural and artistic values, while still being able to accommodate the demands of modern life.

He cited the development of hotels like the Bali Hyatt and Kayu Aya. He also admitted that the influence of foreign artists such as Walter Spies and Arie Smit helped the development of Balinese arts while conserving traditional Balinese cultural values .

It is clear that Fadjar Sidik is a true modernist, who holds tight to his principles until today. This is not to be questioned or put in doubt. However, there is still one question to be asked. If he had lived in Bali when the dichotomy of nature, culture and technology had been solved, what would have happened to his art?

An exhibition of Fadjar Sidik's works is on display through Sept.23 at One Gallery, Jl. Panjang, West Jakarta.