Optimizing ideas through black and white art

Optimizing ideas through black and white art

By Ipong Purnama Sidhi

JAKARTA (JP): Three galleries in Jakarta are now hosting
exhibitions of black-and-white paintings. Though held
simultaneously, these exhibitions were not planned and designed
together. Unrelated to each other, they display artwork created
in the same medium in which the potential of monochrome color
(read: black and white) is tapped to the optimum.

Mon Decor Gallery at J. Gunung Sahari Raya No. 1, Central
Jakarta, features a solo exhibition of Eddy Sulistyo, currently a
student of the Indonesian Arts Institute (ISI) Yogyakarta, with
30 oil paint works on canvas. Eddy produces an artistic response
to his socio-cultural background. These works are unusual in that
they are expressed on canvas. Eddy's exhibition began on March 28
and will last until April 8, 2001.

Another art exhibition is being held at Andi Gallery at Jl.
Tanah Abang 4/14, Central Jakarta, displaying the works of two
painters, Harijadi and Slamet Pujiono, who settled in Bali and
created their works there.

Still another art gallery, the Indigo Gallery at Jl. Ampera
Raya No. 1, South Jakarta, displays the works of nine artists
under a common theme of Paint It Black, obviously inspired by one
of the Rolling Stones' songs. This exhibition features black-and-
white works in the form of sketches and pictures on paper as well
as works in acrylic paint on canvas.

These artists include Amran Ekoprawoto, Awang CH, Esti
Lestarini, Ipriyanto M, Mulyadi Rawan, Nobon, Rip V Dinar and
Titis Jabaruddin. This exhibition, which started on March 23,
will last until March 31, 2001.

Black-and-while painting is an interesting representation due
to the monochrome simplicity and also because behind this
simplicity you can find power in the lines and dots or in the
exploratory gradations of black, white and gray. The use of this
monochrome technique will call to mind a painting called
Guernica, by Picasso, which is dominated by black, white and gray
as a response to cruelty and injustice during the Spanish Civil
War.

Upon close observation, the tendency to use monochrome
techniques in art has been something of a surprise in the past
six years. A number of artists have shown their fondness for an
alternative medium outside oil paint or acrylic for their
expression. Their breakthrough is manifest in the use of pencil,
charcoal, or pastel on a piece of paper.

A number of artists have specially optimized their use of the
simplicity inherent in black to express their response to
interesting subject matter like the prevailing political
situation, ethnic conflicts, gender inequality and injustice. The
works of Agus Suwage, Hendro Suseno and Agung Kurniawan, or the
etchings of Tisna Sanjaya, have made their appearance with a
strong attraction uniquely characterized by the use of this
alternative medium.

In the same spirit, Eddy's works at Mon Decor can be seen as
showing a strong tendency to convey a message about his
surroundings through the black-and-white metaphor. He has painted
a gripping narration in Kelahiran, (Birth), an oil on canvas
depicting the pain suffered by a mother in labor.

In his work called Maringi Tulada (Being Exemplary), Eddy
reminds haughty people around him to contemplate a more exemplary
attitude which they should assume and persuades them to have a
look at traditional values through an actual and critical
analysis.

In his introduction, art critic Dwi Marianto says that Eddy's
works show a close relationship between what is represented and
the socio-cultural background. He recommends close observation of
the quality and appearance of his artistic language, for example
the accuracy of human anatomy and proportion, the exploitation of
light to show darkness and brightness, the drapery and his method
of organizing visual elements into a solid totality.

Meanwhile, the works of Harijadi and Slamet Pujiono offer
simplicity with a charming consistency. In thematic terms, they
do not process the black and white shades as a metaphorical,
symbolic or philosophical language but exploit them in their
unique manner to record objects found in Bali.

Their uniqueness lies in the technical use of ink dots to
produce realistic portrayals. Natural colors are translated
within the pictures through the black-and-white medium with great
accuracy.

Harijadi's works, for example Akar Pohon (Root of a Tree,
1995) show his expertise in making use of technique. In general,
he shows his technical capacity and mastery in recording objects,
delving into the character of an object and drawing light and
shade.

Slamet's works also have the same quality. His Tempat
Sembahyang (A Place for Prayer, 1995) or Merus I, for example,
are arranged in an attractive composition or angle. A
dilapidated, roughly-textured wall, the roofs of Balinese
traditional houses and weeds as well as offerings are all
presented with great precision.

These two artists rarely draw living objects like human
beings. They have a penchant for immovable objects like
buildings, trees or offerings. These objects give great pleasure
in the making because they allow time for contemplation and
observation.

Amid the works by young artists characterized by great
fanfare, instant creation and instant sale, the works of these
two artists exhibit great charm as they display a deaf ear to the
uproarious market with its lure of easy cash and get-rich-quick
opportunity. Their works represent a quiet room, a symbol that an
artist should nurture his mood and contemplate upon the meaning
of life through a simplicity that is black and white.