Former artisan Handiwirman offers freshness

Former artisan Handiwirman offers freshness

Carla Bianpoen, Contributor/Jakarta

Amid the many art exhibitions in the capital, Handiwirman's solo
exhibition at the Nadi Gallery opened without the usual luster,
yet the mixed-media paintings of the onetime artisan are a
refreshing break from the banalities currently seeping into the
art scene.

Fresh in their pastel hues, his paintings well deserve the
term decorative, and while his abstract shapes are sometimes
puzzling, they are nonetheless soothing.

For the artist, however, this is just a way to show the
fallacy of appearances, the illusion of sight.

"Don't believe that what you see is what it is, for whatever
image you think you see comes from an inner perception," said
Handiwirman.

Beauty is in the eye of the beholder?

Handiwirman, a young artist from Bukittinggi, West Sumatra,
was schooled at the Indonesian Art Institute in Yogyakarta and is
knows for his three-dimensional work, in which his ingenious
craftsmanship came to full fruition. Led by an incessant quest
for the "why" burning in his mind, he came to the conclusion that
every single object has a life of its own and evokes changing
perceptions in the viewer.

Handi, as he is called, continued to paint as he continued
with his three-dimensional creations.

Now he has come to the point where he wishes to portray his
objects on canvas. Flat and without volume, but riddling and
finely executed with soothing color themes, they are appealing,
perhaps more so than his three-dimensional pieces.

In the series Pose, Handi presents a rather abstract style
blended with realism. Paintings of sofas with changing, sleek
abstract figures, of objects wrought from cotton wool, unfired
clay or synthetic hair may induce a viewer to seek the meaning
behind the images.

One would be inclined to give meaning to the changing
positions of the sleek, almost amorphous entity on the couch, but
the artist insists it was only to test the viewer's awareness of
the changing positions on the couch, or the illusion thereof.

The same idea is found in a painting that looks like the skull
of an animal with gaping eye sockets -- the result of Handi's
squeezing the back of a doll's head, painted in gray on pastel
green.

Handi is also working with synthetic hair, evoking the
object's symbolic relevance in various cultures and traditions.

Just think of the Old Testament and Samson's hair, or the
Chinese Tang the Victorious, who offered his hair as a surrogate
of himself, or the Sulawesi and Sumatra beliefs that a child's
hair must be allowed to grow to avoid the danger of destroying
the soul within it.

In contemporary art, Nindityo Adipurnomo has used the
traditional hair attachment, or konde, as a symbol of the
Javanese women's burden, even using his own pubic hair in
installations, while renowned Gu Wenda has used hair to represent
the Chinese Diaspora.

For Handi, however, none of these were in his vocabulary -- he
did not even know such beliefs existed. For him, hair was
important simply because of its linear shape. "I have drawn
thousands of lines," he said, and hair was exactly like a line,
straight and continuous.

He experiments with hair and his idea of illusion, pulling
together a bundle of hair with cotton wool and a sheet of plastic
and painting this against a light-blue background in Object No.
3: Mental Series. Taking his experiments a step further, he adds
neon lighting.

On a piece of blue-gray painted plywood measuring 140 by 140
cm, bars of neon light spread horizontally across hair arranged
to render an illusion of looking at the back of a man's or a
woman's headdress.

In this piece, Handi explores the impact of light and succeeds
in eliminating shadow as an effect of light. Shadow is also
eliminated in a three-dimensional work consisting of a ball
suspended on a string and surrounded by bars of neon light.

Although Handiwirman has had to plan out the theory behind
these complex experiments, for the beholder the creative process
is not important, nor is it of interest to understand the title
of the exhibition, taken from an old Indonesian hit song.
Instead, they can just sit back and enjoy Handi's large acrylic
paintings.

Apa-apanya dong?, solo exhibition by Handiwirman, runs from Sept.
16 to Sept. 30 at the Nadi Gallery, Jl. Kedoya Raya 53, Jakarta
11520. The gallery may be contacted at Tel. 5818129.