Opposites interact in artists' paradoxical painting styles

By R. Fadjri

YOGYAKARTA (JP): An exhibition of two opposing styles lives true to its meaning. Pameran Lukisan Dua Gaya (an exhibition of paintings with two styles) has one artist counteracting painful reality with dots, lines and color, and the other, undressing it in raw crudity.

Painters Yayat Surya and Galam Jul'q portray differing emissions of emotion on canvas exhibited at the Bentara Budaya Yogyakarta showroom until July 16. The two young artists explore opposing themes with a differing closeness, each producing distinct styles of their own.

Yayat's inspiration came through the impropriety of the masses. The suffusion of anger and heart-rending frustration overwhelmed him initially. Yayat elaborates on popular themes taken up in paint. Relating to the empowered system of today, a portrait of restrictions to freedom and consequences of greed show through the lively facade of color. Yayat kept his emotions in check, sifting the objective issues onto the canvas. "I stifle the bursts of emotion, sedimenting them and, once abated, I pour them onto the canvas," the self-taught painter said.

The paintings in no way come across as angry projections. His collection is best defined as a kaleidoscope of geometric intricacies. Dots, lines, cubes, human and animal figures form a fusion reflecting his idiosyncrasy. Moreover, pastel colors bring out cheerful combinations.

His work, contrary to its emotional induction, carry decorative nuances. One could view his work titled "Cerita Tentang Predator" (the story of predators) -- the metaphorical suggestion of the strong preying on the weak. Segments of geometrical forms are made up of entrancing colors of orange, purple, brown and yellow topped with a peculiar arrangement of pelicans, crocodiles and fish. Everything seems meticulously set in place.

The message is clear. A violent phenomenon was injected into the art form and the creation is nothing less than spectacular -- the morbid realism enraptured in beauty.

"I wanted people to know the reality of the situation without the need for emotional combat. I wanted them entertained," Yayat said.

The piece concerned with the environment titled Ode Nyanyian Hewan IV (The Song of the Animal II) seems to do just that. With the background in brown, a distorted looking fish in bold color stands out. A guitar and piano serve as furnishings. A stream of notes seem to filter through the mouth of the fish. The striking oddity -- the catch of the day is the fish itself, as a line with a hook at its end protrudes from the eye.

Thoughtful works of Yayat invoke concern. They are, however, both decorative and pleasurable to the eye.

The notable works include Mimpi Malam Minggu Tentang Manusia Rakus (Sunday Nightmare about Greedy Man) and Ode Nyanyian Hewan II (The Song of the Animal II).

The contradicting style of Galam revels in morbid truth. His works are eye-openers, magnifying minute details to the point of exaggeration. The intention is to make people see the bigger picture, rationalize and face the music.

The dominating color of the work titled Rekayasa Mesin (Machine Engineering) is brown. Thirty-three panels are joined together and stretch out 375 cm x 990 cm, outlining a gargantuan human robot.

Real machinery interspersed with expression depict the technical structure. The humongous creation is something to show and frighten others with. The effect is powerfully intimidating. Cables jutting out in coils, adjoining electronic instruments, pushbuttons and plugs, a framework of steel complete with nuts and bolts lends to the chilling facade of paint and metal.

"I want to get into the depth of reality and lift it up to view, for the sake of public awareness," the plastic arts drop- out said.

Through his work, Galam questions the ever-growing need for machinery, as it envelopes modern culture and exercises complete control over it. It shows that the submission of man to machine has entrapped common man to adhere to programs made and run by a handful of experts.

Formerly the uniformity and discipline bred by machinery appealed to mere aspiration. With rigid systems prevailing, however, man is vulnerable without machine. Typical of the scientist versus Frankenstein horror, man made machine, but can hardly deny the veritable fact -- the creator now lies at the mercy of his own creation.

"The profound dominance of machines in our day-to-day lives has eroded human value," Galam says, adding that man no longer holds the key to his independence. These were among the discerning factors of inspiration and concern to Galam.

Both collections carry themes of reality. However, the distinct manner taken when viewing encroaching phenomena varies, which embodies the essence of each collection.

Yayat did not portray the exactness of the disturbing situations. The perception was that nobody could possibly think clearly considering the magnitude of the problems. The primary medium was amusement and Yayat took pains in establishing the aesthetic veneer.

On the other hand, Galam wanted to strike an emotional chord with the multitude, leaving his work stark and unadorned. The aesthetic element was secondary to him and the message was prioritized.

Both achieved their desired effect and the message was sent across. The crowning glory, however, was the continuation of the nonverbalized campaign of making people see foreboding social and environmental problems and realizing that facing them is only a matter of time.