Hanafi's latest works explore contextualism

By Amir Sidharta

JAKARTA (JP): The most recent paintings of the artist Hanafi, a series entitled Ventilasi Ruang (Ventilation of Spaces), are specifically meant to interact with architect Yori Antar's Puzzle Gallery in Puri Cinere, South Jakarta.

The artist and the architect started the project with an exploration of contextualism in painting, whereby the painting would take inspiration from the environment in which it is set, and would therefore become an integral part of the architecture. Initially, the artists were interested in exploring the notion that "every painting has its own home."

It seems that now the notion is no longer of particular interest, as it is obviously very subjective in nature. While one person can consider that one painting's home is in one particular space, another can disagree completely.

The notion is by no means an objective one; it is not determined by the painting or the architecture itself. The beholder plays a significant role in its consideration.

Nonetheless, the exploration of contextualism in the project is still an interesting one, as a certain kind of dialog does seem to emerge between Hanafi's painting and Yori's space. First of all, the architect's Puzzle House is perhaps one of his more subdued and quiet, or if you will, mature projects.

Like his other houses, it remains extremely complex, and even borders on the arcane. Yet the architect seems to have intentionally refrained from making the Puzzle House a sculptural work of art, as some of his other projects seem to have become.

Here, the house provides a kind of stage set in which human interaction can take place. While the architectural stage set retreats into the background, light enters, and the space emerges.

Not unlike Yori's architecture, Hanafi's Ventilation of Spaces are abstract works that clearly are not representational (in the sense of physical representation). Instead they seem to be representative of the artists inner feelings and emotions as responses or reactions toward the environment or situation in which they are set.

Seldom is there even an associative element from which we would be able to ascertain what it is that Hanafi is trying to express or convey through his paintings. His "non-figurative" paintings offer much room for multiple interpretation. Rather, through the elements he presents in his work, the artist intends to stimulate interaction with the viewers' feelings, resulting in a variety of interpretation, depending on the beholder.

The series Ventilation of Space certainly suggests a mere phase in Hanafi's artistic development. The term "ventilation" that the artist uses can perhaps be more appropriately substituted with the term "fenestration".

Whereas ventilation more appropriately pertains to the flow or venting of air, the term fenestration refers to a broader meaning of openings. While a window becomes a means of atmospheric ventilation, it is also provides a visual interrelationship between spaces. In essence we understand that Hanafi's intention in his use of the term is to suggest this spatial interrelationship.

Placed in an architectural space, his Ventilation of Space therefore becomes a ventilation, fenestration, or window, into another space or even another dimension.

It is precisely the window into the artist's psyche, and at the same time a vehicle into the viewer's own feelings and emotions. This open window allows the multiple interpretation mentioned above.

The artist himself writes:

"I realize that my painting is a mere fragment of a 'large picture'. The large picture is our collaborative work. It is like a jigsaw puzzle, where each piece is joined with another. Each piece has its distinct form and value: my piece and the other existing ones, and the ones to come.

"We rearrange it in this jigsaw puzzle. Each piece has to be joined to form integrity, because the image of reality exists in comprehensiveness."

In other words, the collaborative exercise between Hanafi, Yori and their audience is meant to initiate the churning of a wheel of discourse involving art, architecture and aesthetic appreciation.

Yori has opened the spaces in his architecture. Hanafi has opened the Ventilation of Spaces in his painting. Now it is time for us as the audience to open up our senses and our hearts so that we will be able to appreciate the works.

If you can only come up with lumayan ("okay", "alright", or "not bad"), then we know that we are facing a rather big problem.

This means that we need to rethink this effort all over again, and it will take longer for us to compose what Hanafi calls the "larger picture".

If the paintings are strong enough, they will invite strong reaction from the viewer. You may be able to feel excitement, joy, melancholy, or sorrow. If you like them, good! If you hate them, fair enough. No problem! For, if so, then the painter's works have managed to strike your heart in one way or another.

Whatever your response, please frankly convey it to the artist. He should be able to deal with it. After all, these responses are what churns the wheel of discourse and forms this "larger picture".

Far too often, the circle of communication between artists, architects, and their audience is intercepted by possessive mediators. Hanafi's "Ventilation of Spaces" in Yori's Puzzle House attempts to open up this circle once again. The "larger picture" is ours to compose collectively, not individually.

The writer is the curator at Museum Universitas Pelita Harapan in Karawaci, Tangerang, West Java. The above story is taken from the exhibition's catalog.