Young artist claims constructivist tag

Young artist claims constructivist tag

By Lilia S. Naga

JAKARTA (JP): Webster's New World Dictionary describes
constructivism as an early 20th century movement in sculpture,
painting, architecture, etc., which originated in the Soviet
Union, characterized by abstract and geometric design, manmade
materials and massive structural form.

Indonesian artist, Iskandar Syah, claims the constructivist
tag in his current exhibition Menjaring Waktu (To Net The Time),
at The Japan Foundation until March 23.

The genre, despite it's magnificent lineage, has been rarely
adopted by Indonesian artists. This adds to the uniqueness of the
show.

Iskandar, 27, displays 24 artworks made of assorted (often
disposable) materials easily found in his neighborhood. The
exhibition is loaded with strong messages and is littered with
the artist's personal art theories.

The show's title aptly describes the artist's journey through
life; it is a deciphering key to his psychological resume.

First impressions count: the artworks display unrelenting
inventiveness, eccentricity and humor.

In Masokhisme (Masochism) a bowl of noodles is cheekily
constructed of wire, cable, rattan, wood, rope and other
materials.

This symbolic tendency runs through the pieces. Aggressive
Emotion is constructed of motley materials including a broken
window, barbed wire, a red mask representing a wayang character,
photographs and assorted tools: chisel, pincers, screwdriver,
knife, hatchet and hammers.

Iskandar is incredibly resourceful in his utilization of
simple things in new and innovative ways.

Installations are currently trendy among Indonesian artists.
Iskandar's works share the spirit of this style. Some of his
works are more enjoyable if elevated onto a table or placed on
the floor. Most of them feature a three dimensional form.

His artworks transform his inner feelings -- anger, sadness,
disappointment, hopelessness and other moods -- into concrete
constructions. A pervasive gloominess is evident in all the
works. The motive is traced in the artwork titles. In part
because of his comparative youthfulness, the artist is attracted
to rebellious motifs: many of the artworks are acerbic and
disturbing.

Iskandar says he is on a journey to perfect his art; he hopes
his pieces are a good medium for expression of his ideas.

Commenting on his nontraditional methods, Iskandar revealed
that the economic crisis and widespread violence across the
country had affected him deeply, not only as an observer but also
within his own life. Hardship and the severe conditions in
Indonesia are persistent themes in the works. At the same time,
his works provide a means to eliminate his suffering, while at
the same time he made concrete these social facts for people to
observe.

His nonconformist ideas and expression distort conventional
meanings of painting.

Iskandar has worked in this style for quite a long time and,
considering the strangeness of many of his works, has won some
prestigious awards. Commenting on his style, Iskandar said that
for the time being the technique is the best way to express his
ideas, even though some day he might move on to another style.

As a matter of fact, as a graduate from a leading art school
in Yogyakarta, Iskandar is proficient in other painting styles.

Although he is still very young he has participated in many
cultural activities across Indonesia, including poetry and art
performances. Just like other idealistic artists, he has no
intention to compromise his works by market demand. He does not
appear bothered if his works do not attract buyers.

His position seems ironical in these hard times, especially if
one considers difficult times the artist has already experienced.
In the early 1990s, Iskandar eked out a living painting images
from photographs of scenery and horses. He also received meager
payment for decorating slebor becak (pedicab mud guards).