Jeihan's work still centers on human figures
Jeihan's work still centers on human figures
By Chandra Johan
JAKARTA (JP): Famous painter Jeihan Sukmantoro is presenting his works in a solo exhibition curiously titled Toward the New Millennium at Cikini Galeria, Central Jakarta.
The explicit meaning of the theme of the exhibition -- which opened March 13 and runs through April 30 -- is unclear.
In the 20 oil paintings on display, longtime observers of his work can find no significant change in the painting style he has embraced since the 1970s.
Human figures, especially female ones, and "portrait" paintings remain his favorite theme.
Jeihan's human figures have become his trademark. They are present in different poses and gestures -- in repose, sitting, daydreaming, leaning, staring, etc. The faces are delineated by black eyes and a cold expression.
They are taken out of their backgrounds and seem to hang at a nondescript point in the air far from the earth. After closer observation, the impression turns out to be mistaken.
In this exhibition, the characteristics of the artworks remain dominant.
One or two of his works show a change in aesthetic approach, but it is not very striking, as in Isma (1997), Lala (1997) and Niki (1998). To see the innovations, one has to compare the works with his previous pieces.
Jeihan's figures generally present women's beauty (in several of his other paintings not presented in this exhibition, he also painted figures of children, adults, old men, landscapes, animals and temples).
His female figures are usually drawn from the local environment or close friends; Jeihan usually uses the latter as his models. He will observe the model, taking notes, and then go to his canvas to start drawing. He does so in the belief that to paint is not to represent, but rather to present what is in the artist's heart.
With this philosophy, Jeihan is free to make changes to his model by lengthening, thinning or softening parts of the body according to the aesthetic importance which he wants to achieve.
It is for the sake of this esthetic that distortion and deformation cannot be avoided; one does not need to question details of forms and anatomic precision to enjoy his paintings.
In modern esthetics, the relation between emotion and interpretation is considered important.
Thus it is no surprise if almost all of Jeihan's paintings have many anatomical deviations and that deviation makes up the strength of the figures, which can fill the empty spaces without looking odd.
It is clearly observed in Toha (1982), Siti (1979), Murni (1997) and other 1990s works such as Merah Menyala (Burning Red, 1991) Par (1995), Mirna (1997) and the most extreme Syarifah (1997). Jeihan cannot be categorized as a model painter because the latter generally relies on his model. In contrast, Jeihan relies on his conscience.
However, Jeihan considers sketching important because it helps him record life and figures around him. He makes sketches as notes and leaves them unfinished. Only one or two of his sketches are presented as a finished work.
Typical characteristics of Jeihan's paintings are the black lines he draws to form a figure. The lines are applied smoothly without pressure. Art critic Jim Supangkat notes that Jeihan cannot be categorized simply as an expressionist painter. The expressionist tone in his works is not emotional and spontaneous because it involves reinterpretation and change in image from representative to expressive, showing personal interpretation.
Jeihan often uses a pallet knife as a tool or way to paint his figures. This is a way Jeihan controls his emotion so that rarely does he show an outburst of emotion which is often seen in expressionists. However, in several of his more recent paintings, like Isma, Lala and Niki, he did not use the pallet knife but a brush, a sign of him setting loose his emotions.
As mentioned before, every pose of Jeihan's figures has been cleaned of realities around them, such as a table, chair, equipment, wall, etc. But every figure has a certain pose, as in Merah Menyala Bunga (Flower, 1993), Ivi (1994) or Ratih (1994). Objects around the figure are not painted but only implied.
Light and dark are generally neglected. Should there be nuances of light and dark, they are not meant to represent light or illusion. They are only a combination of colors on the canvas. In this case, Jeihan proves he is a "modernist" who believes that painting is painting, a world with its own logic. Painting is not a work that transforms reality into illusion.
The face of every figure is not a special part, yet it represents the most of Jeihan's esthetic strength. The blackened eyes of every figure are not meant to simplify the form but to annihilate what he calls the "hierarchy of reality". With the eyes blackened, the figures do not have to show if they are sad or happy. In other words, the figures do not have to express with their eyes whatever they have to bear.
Jeihan's change in style is apparent in works such as Niki, Lala and Isma, where he applied a different esthetic approach.
In these later works, Jeihan wants to better catch the essence of the object. Sketches are given meaning. With minimal touches, not the whole figure is covered with paint. It seems that Jeihan will follow this minimalist trend for his future works.
Among works conforming to the trend are Mabit di Mina, Tawaf and Jumrah that he will put on display on April 27 when he is scheduled to feature his works with painter Hidayat at Galeri Cipta II at Ismail Marzuki Cultural Park.
Asked about his change in style, Jeihan said: "All art becomes abstract, no copying, and the artist follows his heart."
His statement seems to show a deep spiritual experience from his recent haj pilgrimage with his wife.