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.