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.