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.