Fadjar Sidik responds to changing times creatively

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.