Senior painters continue working despite crisis

By Pavan Kapoor

JAKARTA (JP): Although the crisis may have swallowed the culturally convivial atmosphere of Indonesia in one swift gulp, some senior artists are keeping the aesthetic atmosphere alive by continuing to display their work.

The art exhibition Warna Silaturahmi (Colors of Friendship) was opened by Governor Sutiyoso at Gran Mahakam Hotel on Jan. 28. The show will last until Feb. 10.

Warna Silaturahmi shows oil and watercolor works of famous painters such as Popo Iskandar, Nana Banna, Nyoman Gunarsa, Krijono, Benny Setiawan, the late Dullah, Rahmat Subani Irfani and Yulie Indra Setyohadi, the organizer from arranger and promoter Yudacitra Promo.

Passion and enthusiasm of the artists, art critics and art lovers go to show that it is indeed hard to plug the momentum of art which is the cultural signature of the opulent heritage of the Indonesian people.

From realistic works to abstract surrealism, from vividly alive colors in the metaphysical etchings of Krijono to the more muted, soothing works of the late master painter Dullah. From the "emotional style" of Rahmat to the spontaneous magic of Nyoman Gunarsa, the exhibition takes the aesthetic senses by storm and keeps one on high waves until the last frame has been viewed.

The batik-inspired paintings of Benny Setiawan demonstrate his exhaustive knowledge of the intricate batik art, which he has infused in his paintings copiously. His acrylics on canvas, such as Sesajen di Bali (Offerings in Bali) and Putih Semampai (Slender White), demonstrate his style of using the intricacy of theme and complementing it with his eye for detail to create the atmosphere of his themes. Although Benny is a virtuoso of watercolor paintings, the exhibition houses his oil as well as watercolor works.

Krijono displays big and dominating oil paintings as usual, portraying bold and alive colors that often contrast to communicate metaphysical symbolism, the artist's intent.

It is not surprising that his works are dominated by Balinese themes as he has lived on the exotic island for many years, infusing the cultural heritage into his personal artistic style. He came upon the Jakarta art scene when he moved to the capital in 1996.

In Kuda Delman di Pesta Sunatan (Cart Horse at Circumcision Party), Krijono creates an imposing eye-catching painting of 100cm by 120cm. The stark black outline of the figures reaches out to the observer to make a bold statement.

In sharp contrast are the balmy realistic masterpieces by the late genius Dullah. The soft tones and muted shades that highlight the features of the women and rustic girls he depicts are a sight for sore eyes.

Dullah was the presidential painter in the 1950s and received numerous commissions to paint portraits of the elite.

Additionally, he was the editor of the two-volume publication on former president Sukarno's private Indonesian art collection. Although subject matter of his paintings such as Penari Bali (Balinese Dancer) and Gadis Bali I, II dan III (Balinese Girl I, II and III) is not rare nor unique like that of Rahmat or Yulie, the fineness of realistic toning mastery strikes one at first glance.

A protege of famous painter Popo Iskandar, Nana Banna has certainly made a name for himself since he held his first private painting exhibition in 1964. It has been a long and successful story. Although indulging in a technique that includes plastering ample paint on canvas, Nana believes in a more restricted spectrum of colors on his palette.

Operating mainly with primary and a few secondary colors, Nana succeeds in creating uncomplicated figurative artworks. With his simplistic color usage, Nana concentrates on the softness of expression of young Balinese women. Besides large oils, smaller portraits stand in sharp relief for a collector seeking to decorate a small wall.

While Popo Iskandar not only continues to inspire other painters, he is also an art critic and essayist. Currently he is a lecturer at Bandung Teachers Training Institute.

He has contributed two of his coveted paintings, Jago (Rooster) and Kucing dan Matahari (Cat and Sun), which portray his beliefs and ideas of abstract fusing with realism.

In Kucing dan Matahari, a bright yellow sun painted with a minimum of fuss melts in a hot red sky with the body of a leopard gracefully adorning the foreground.

Conceptual extravagance is the call of the day for painter Rahmat Irfani. After completing his bachelor's degree in art at the Indonesian Fine Arts Academy, Yogyakarta, Rahmat entered the creative dimension of advertising.

Advertising at work led his mind through unique and mind- boggling tunnels of thought that he brought home and into his paintings. Thus we see enigmatic themes accented with realistic objects, as in Siklaus Himpuany. The red Washington apples that seem real enough to reach out and take a bite out are perched on a concrete arched window overlooking the highway. There is a watch hung over that tells the observer to make use of his time wisely on the road of life. The concrete forms the frame of the canvas, which is actually frameless, increasing the enigmatic feeling that pulls the observer back for a second look.

Nyoman Gunarsa, the renowned artist who dances while he paints, probably needs no introduction. Simplistic figurative sketches that are raw in detail but interesting in the splashes of color that flow freely straight from the tubes in wild abandon.

It is as if he is constantly exploring his emotional state of mind and the metaphysical perception of his Balinese figurines without a clear conception of how the final result is actually going to evolve.

The tremendous spontaneity and otomatism belies the thought processes of his subconscious mind. His typical works, such as Penari Legong Kain Biru (Legong Dancer in Blue), Penari Pendet Meniup (Pendet Dancer Blows) and Tiga Penari Kain Biru (Three Dancers in Blue), are framed in antique, wide decorative frames, further accentuating the Balinese touch.

Last but not the least is Yulie Setyohadi. A student of Benny Setiawan, she has developed her own mosaic style and is currently displaying four watercolors.

Yulie's own artistic advancement was initiated through her interest in promoting the senior artists of Indonesia. She felt that although there were exceptional talent in Indonesia, there was very little organization.

So she became a self-appointed manager and formed the Yudha Citra Promo, allowing her to promote art as well as perform social services by donating part of the proceeds to various charities. A portion of proceeds from Warna Silaturahmi will be donated to the Seniman Peduli (Artists Care) Foundation.