Fresh ideas always emerging for artist Sunaryo

Text and photo by Aendra H. Medita

JAKARTA (JP): Tracking artist Sunaryo's long journey to success is an intriguing undertaking. Over the years, Sunaryo has invigorated Indonesia's art world, his rare creations confirming his standing as an artist of rare skills. His works depict the essential values of humans, and the prolific Sunaryo is indefatigable in unraveling the secrets of art.

Born on May 15, 1958, Sunaryo, also a lecturer at the School of Fine Arts and Design at the Bandung Institute of Technology, and the winner of the Kahati and Philip Morris awards, has experienced numerous highs and lows over the course of his career. It was only after years of pursuing his art that he was given the opportunity to exhibit his work both locally and overseas.

In the words of noted art critic Jim Supangkat, Sunaryo -- like many other Indonesian artists -- is highly sensitive to his environment.

In a catalog, Jim wrote: "(Sunaryo's) works rest on one of Indonesia's important arts paradigms: to seek the rightness in moral ethics rather than the absolute truth."

The implications behind these words find expression in Sunaryo's series of works The Nadir Points, The White Points and The Points of Nervousness, currently displayed at Galeri R-66 in Bandung.

In these works, the artist shows subtle worries and touches of perfectionism, lending more weight to his distinctive style. There are similar nuances in his masterful A Stage of Metamorphosis, an installation that was part of the artist's May- June 2001 exhibition at the Circle Point Art Space in Washington, D.C.

The exhibition featured a container-load of items comprising paintings, statues, cloth and iron constructions, highlighted by the installation piece and performing arts.

The following is an excerpt of a recent interview Sunaryo gave The Jakarta Post:

Question: Do you have a special concept for each of your exhibitions?

Answer: Expressions in my works are based on my awareness that as a son of this nation, I want to convey what is happening around me. What I have in mind is to be productive. It is not about transferring an object, but more about meaningful aesthetic expressions.

Q: Do you see anything in Indonesia's economic crisis that may inspire you to create art?

A: I only want to convey through my artwork what is happening in Indonesia as a transitional process, a metamorphosis. This represents an effort to consciously maintain a distance from what is really happening to ensure that I will not become carried away by this prolonged crisis.

As a strong response, not just an ordinary response to such grave conditions, I have created art pieces called Titik Nadir (the Nadir Points), in which all the works are wrapped in black cloth.

Q: On what do you usually base your works?

A: A variety of things, yet with one focus. In my installation works, I normally make use of the strength of multimedia, as this may allow direct communication. Sometimes, however, I also take into account the material of the work I wish to create.

Q: How was your exhibition in Washington, D.C.?

A: My exhibition there was held at the invitation of the curator of the Circle Point Art Space, and lasted one and a half months. As my exhibition was chosen for the grand opening, I brought with me statues, paintings, installations and performing arts pieces featuring dancer Hene.

Q: What were the works in the exhibition like?

A: Basically, I wanted to present my works as an important piece of the public discourse, not only of Indonesia but also of the whole world.

For example, I contributed one of my works, titled Help Me IMF, to the gallery, hoping the gallery would become a place for the exhibition of the works of Asian artists, particularly Indonesian artists. My hope is that this will eventually serve as a cultural bridge linking Indonesia to the U.S.

Q: What was the response to your works?

A: As the exhibition coincided with my birthday, the gallery threw me a surprise party. And some Americans were very pleased with the exhibition and wondered why I did not hold a similar exhibition in New York.

The then Indonesian ambassador, Dorodjatun Kuntjoro-Jakti, said he had never seen a single solo exhibition from Indonesia during his tenure.

Q: Were you satisfied with the works you exhibited in the U.S.?

A: Actually, I was still working on them. You know, every time I complete a piece, fresh ideas come to me and, of course, I have to deal with them.

Q: Do you plan to hold a similar exhibition in Indonesia?

A: Actually, some of the works have been exhibited in Indonesia, and one-third of the items exhibited in the U.S. were on loan from my own Selasar Seni Gallery. The rest were new pieces that I added to the collection.

Q: What about your latest work, Titik Gamang (Point of Nervousness)?

A: Titik Gamang was exhibited at R-66 and is one of my latest works. Every one of us is gripped by endless nervousness. I believe that in my career, fresh ideas keep pouring out, therefore adding to my nervousness.

So this work, Titik Gamang, is a manifestation of the self- awareness that there are many complex but unfinished problems. A catharsis is needed and it is this catharsis that Titik Gamang contains.

Q: In terms of the development of the arts, what is the difference between the U.S. and Indonesia?

A: Maybe the working rhythm. In my creative works in the U.S., I particularly learned a lot about American living habits. This working rhythm is what you should live with and abide by. It is rather hard to improvise, for example, because every plan has to be checked long beforehand so as not to harm the public. Everything must be orderly and effective in the U.S.