Fashion photographer paints images of urban glamour

Fashion photographer paints images of urban glamour

By Amir Sidharta

JAKARTA (JP): A slim, glamorous, self assured executive talks
to her male colleagues during happy hour. Nearby, a couple --
hopelessly in love -- make irrational promises to each other.
Intimate friends hug each other affectionately. A sole young man
poses at one of the tables on what seems to be Tanamur's dance
floor.

These vivid impressions, unfamiliar in the Indonesian modern
art world, are part of Firman Ichsan's first solo painting
exhibition on show at the Cemara 6 Galeri-Kafe until Nov. 5. The
artist's paintings present life in Indonesia from a viewpoint
that is entirely different from that commonly portrayed in
Indonesian art.

Essentially, Firman's works comprise genre paintings of
everyday urban life and ordinary people. Compared to typical
Indonesian genre paintings, the difference is that while the
works of Hendra Gunawan, Sudjana Kerton or Djoko Pekik portray
the lifestyle of the lower class, Firman's subject matter is
based on his own upper middle class lifestyle.

Until recently, Firman was better known as a commercial and
fashion photographer. He is married to prominent model Okky
Asokawati, and is inevitably surrounded by images of urban
glamour. Firman intends to introduce this relatively new genre to
Indonesian art.

"My paintings are about life, in this case urban life. It
exists, and therefore I feel that it is valid subject matter," he
commented.

Exploration

The artist's impressionistic images of night life record urban
life through the atmosphere of bars and cafes. Beyond the
aesthetic value of the brush strokes, there is an attempt to
express the psychology of the characters in the paintings. In
Coba Dengar (Listen), a female figure forces her ideas on her
male counterparts. The artist tries to explore Intimate
Friendships through the portrayal of a friendly couple. A young
man ponders his sexual identity while anticipating a promiscuous
encounter in Hanya Para Pria (Men Only).

Solitary women are predominant in his work. In paintings such
as Sendiri (Alone) and Nyonya di Sofa Hijau (Woman on a Green
Sofa), Firman completely isolates figures to emphasize solitude.
This series provide him a chance to study the facial expressions
and body language of his models. Sometimes, Firman's paintings
portray female figures with strong, independent personalities.
Other times, there is an impression that the characters are not
only alone but also lonely. He hints alienation, another
primarily urban phenomenon, even though he prefers to call them
his solitary paintings.

Although psychological exploration is emerging in Firman's
paintings, it is not predominant in his works and he does not try
to emphasize it. In another series called Dansa Dua Bangsa (Dance
of Two Races), he is more interested in studying lines, form and
color. Motion is very evident in these paintings, and he has
confidently entitled them according to the dance represented,
like Swing and Mambo. The series deals with interracial
relationships and is another investigation of an urban theme that
is becoming increasingly evident in the cities of Indonesia.

Influence

Firman comes from a family of painters. Both his uncle and his
mother were accomplished painters, although neither were well-
known. Living in Thailand, his family was also acquainted with
Basoeki Abdullah. Firman has been interested in painting since he
was young.

After years of hard work, Firman established himself as
photographer in 1978. Maartri Djorghi then asked him to join her
in 1990 to take up painting as a hobby. While Maartri has lost
interest in painting, Firman has participated in three
exhibitions. The current show is his first solo effort.

The influence of photography is still evident in Firman's
works. Not photo-realism but rather in his choice of poses,
lighting, color and composition. Familiar with filling the area
of the photographic medium, he manages to fill the canvas with a
balanced composition using elegantly posed, although often
contorted and elongated figures.

Firman feels that photography does not satisfy his need for
artistic expression because photography, as an art form, is not
appreciated in Indonesia. It has become too dependent on the
media and the publishing world. In addition, photography poses
several technical limitations. The medium is far less immediate.
A photographer has to wait before he is able to find exactly how
his work has turned out. Further, once the print is done, it only
lasts a relatively short period before it starts to fade.

Painting, on the other hand, is much more immediate. The
artist can constantly evaluate his work as he applies layer upon
layer of paint on the canvas. He does not need to stop until he
is completely satisfied with what appears in his painting. He can
manipulate the images to make sure that his idea is effectively
communicated. Ironically, while photography is often considered
too realistic to be used as a media for artistic expression,
painting can be manipulated so an artist can express himself with
complete honesty.

As a relative newcomer to painting, it is evident that Firman
has not established a style.

He is currently exploring several different styles while
searching for his artistic identity. In his final set of
paintings entitled Dewi Baru (New Goddesses), he paints posed
dark female figures elongated and distorted into curvilinear
forms, in exaggerated stylization. Several parts of the anatomy
are highlighted with a brilliant luster, and the figures are
reminiscent of the patina of dark antique African statues.

This set of paintings are studies for a large painting
executed in a style akin to Matisse's famous The Dancers, a mural
now in the Barnes collection. Entitled Dewa-dewi Baru Menari (di
depan Candi Baru), New Idols Dancing (in Front of New Shrines),
it portrays mannequins posing in front of urban buildings. Models
have indeed become the new idols of the increasingly capitalistic
urban centers, while the urban skyscrapers of the central
business districts have become their new shrines.

Two distinct styles are evident in this set alone.
Nonetheless, a certain energy that is characteristic of Firman is
emerging. We can anticipate that he will soon establish a mature
artistic style.

Through bar and cafe scenes, couples dancing, solitary figures
and posing models he talks about night life, gender issues,
interracial relationships, independence, self confidence,
alienation and contemporary culture.

Although Firman may be considered relatively new to the world
of painting, he has managed to offer an important contribution to
the world of Indonesian modern art by dealing with significant
urban issues that have not been explored by the Indonesian art
scene.