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Understanding Contemporary Southeast Asian Art: Indonesia
by Marjorie Chu
Since the early days of
my collecting Southeast Asian art, the country I have kept up with is Indonesia.
Early paintings I collected were by Srihadi and even up to this year I am acquiring
works by young Indonesian artists. Because of my fondness for Central Java and
Bali, and my conclusion that my favourite artists in Indonesia almost all come
from ISI Yogyakarta, the presentation of Indonesian artists in this catalogue
represents my favourite artists. I have always been fond of Indonesia, and I
think that the best artists come from Indonesia. It can be said that works by
Indonesian artists represent all the concepts and techniques of Southeast Asian
art.
Srihadi's Horizon dan Sawah depicts the typical golden rice field that
can be seen from the Philippines all the way to Thailand. His superb technique
makes the painting glowing and translucent at the same time. The painting entitled
Kebyar - The Spirit of Youth shows Srihadi's technique at his best because
of the rhythm and movement not only in the dancer himself but also reflected
in the background. Dance and ritual is very important in Indonesia and indeed
in all of Southeast Asia.
Oil on canvas is always considered the most classic medium in art. However,
with the Southeast Asian knowledge of paper-making we have the added advantage
of understanding paper and all its characteristics. The quality of a work of
art whether executed on canvas or on paper is equal in my judgment. In fact
when watercolour is placed on paper Srihadi displays yet another aspect of his
talent and that is economy and simplicity. Observe the Portrait of a Lady
- one can tell instantly that this is a composition by Srihadi because this
is his most favourite pose as if he was painting a legong dancer. Upacara
di Besakih / Procession at Besakih Temple is a good example of the way in
which Rusli paints on canvas with a technique as if he is making a brush painting
on paper.
Made Budhiana, a graduate of ISI Yogyakarta, initiated "the new spiritual
paintings" in the imagery that he presents and the primary colours that
he favours in his works. The rhythm in the painting is like the changing wind,
unpredictable yet controlled.
Indonesia is rich in her natural resources. Made Budhiana's sculptures combine
found objects with his mythical concept. Anusapati prefers to craft wood, bamboo
and vine to to bring out the beauty of forms that we take for granted and often
ignore. Teguh Ostenrik's sculptures celebrate the human form from the time homo
sapiens first existed. He forms his sculptures in clay and they are then cast
in bronze by craftsmen in Trowulan. This technique was handed down from the
Majapahit period.
Barli and Sudarso are senior Indonesian artists. As can be seen in the works
of their contemporaries in Southeast Asia, there is a definite influence of
European painting styles. Both artists show a preference for landscape, still
life and portraits, colour and composition are realistic and inspired by nature.
Looking at the works of Barli and Sudarso, I am fascinated by the intricate
brush and palette technique as if I am looking at paintings by artists from
Europe. The overall tone and mood of these paintings are also expressed in Djoko
Pekik's works with their touch of depression and melancholy.
Having taught art for almost his entire artistic career, Widayat displays a
versatility not only in subject matter but also in technique. The most charming
of his works are little narratives of market scenes and common vendors. However,
in direct contrast to this one would come across earlier large and intricate
paintings of majestic landscapes.
There is no end to the versatility of using oil on canvas. Aming Prayitno uses
oil to express texture, as in his paintings of masks. Affandi "paints"
by applying colours straight from the tube. This textural style shows rhythm
and immediacy typical of Affandi's character.
The classical Balinese style of painting is a school that stands alone. Dewa
Putu Mokoh simplified this technique while at the same time maintaining narrative
elements of ritual and daily life. Southeast Asians will relate immediately
to the significance of his paintings of fish, the groups of figures as a community
and the perpetuity of the round circle.
To understand contemporary Indonesian art is understanding contemporary Southeast
Asian art.
* published in exhibition catalogue, Understanding Contemporary Southeast
Asian Art: Indonesia. Galeri Canna, Jakarta, 2003
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