Senior painters continue working despite crisis

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.