Artist Pranoto Strips Away Pretension
by Margaret Agusta (Contributor-Jakarta)
Exerpt from the Jakarta Post, Thursday, June 19, 2003
(including image as run with article)
The sign placed in the window of
the Galeri Milenium, a small, hole-in-the-wall exhibition
space
in the crowded Diamond Plaza commercial complex on JL.RS
Fatmawati in
South Jakarta simply said: "Nudes by Pranoto".
The exhibition, like the sign,
says so little and yet so very much.
There is no grand pretension
here, no stated or written theory of art,
no attempt to link the
artist's work with any past or current "ism",
and no
effort to justify its content or lack of it.
Besides a short note that the
artist "hopes this exhibition in Jakarta will enrich
the
world of art in Indonesia", the catalog carries only a
somewhat cryptic
commentary by Yulianto Liestono, the owner and
director of Galeri Milenium,
on the the controversial nature of
the subject matter: nude human figures.
Nudes as a central focus of an
artist's body of work are indeed a rarity
within the history of
modern Indonesian art. Pranoto, a self-taught painter
born in Sragen, Solo, Central Java in 1952, but currently living and
working
in Bali, is one of the very few Indonesian artists to
focus with such intensity
on life or figure drawing in his work.
Although some local painters have
occasionally exhibited one or two
paintings of semi-nude or nude
figures within a context of a much greater
number of portraits,
still lifes and landscapes, whole shows of paintings of nudes are
highly
unusual.
Even Affandi's full frontal nude
self-portraits, and Basuki Abdullah's seductive,
semi-nude
representations of an "ideal female beauty" are
exceptions to the rule
in Indonesia's world of painting. For that
reason alone, Pranoto's current display
at Galeri Milenium is
notable and potentially controversial.
"Upon hearing the word
'nude', a person might automatically think of eroticism,
genitals, pornography, lewd behavior or other impropriety," Yulianto Liestiono,
who studied at the Indonesian Institute of
Art (ISI) in Yogyakarta, commented.
"But the same word can
also call other impressions to mind, such as honesty,
trust,
submission or even love. This dichotomy is probably what stirs up
confusion
about what kind of stance to take on nudity. A
community of people can become
extremely polarized or even
hostile to one another when the topic of nudity comes up.
Nudity
is not somthing that people can easily see eye to eye on."
In this context, the true
significance of Pranoto's paintings is caught up in the
inexplicable
dilemma artists have struggled with since earliest
man first scrawled images of bison
on cave walls-the eye of the
beholder. As when Pablo Picasso was once asked how
he knew when a
painting was finished-he responded that a given work was never
truly completed, that this was the task of the beholder- Pranoto
invites the viewer to
ponder both the aesthetic and existential
import of what he paints.
"Sleeping on Blue Flowers", 2001 |
Only God and Pranoto know why he focuses on nudes in his art. I only know that I learn something from his art. Nudity is never vulgar in his works. The nudity in Pranoto's paintings is not the kind that fishes for an erotic reaction. I find in Pranoto's nudes a specific artstic value; an aesthetic feeling that is not always easy to find in works by other artists. I believe that Pranoto elaborates on nudity on his canvasses to find something positive and meaningful; and he stands strong in that position. Pranoto's nudes, like the ubiquitous cats of Popo Iskandar and the suns and roosters Affandi repeatedly drew upon for inspiration, or Hendra Gunawan's colorful fish, are in part simply vehicles for the aesthetic concerns of the painterly mind: color, texture, composition, space and contour. Pranoto clearly delights in creatively playing with the textural possibilities inherent in the combination of unusual materials, such as floor tiles and tinted cement in the painting titled "Two Women", or oil paint on sandpaper as in the work titled "Sleeping on Blue Flowers". |
His
concentrated focus on exploring the aesthetic potential
of space, color and the
contrast of light and dark is
also immediately apparent in
"Floating Light",
a male nude done with soft pastel on deep
green textured
paper, and "Rest", a painting of an ambiguously
androgynous figure reclining on a boulder
Yet, Pranoto's nudes speak of much
more than painterly preoccupations echoing
out of the artist's
eternal cry of, "What if-what if?" The choice of
subject matter
alone articulates an intense interest in the human
psyche, in the inner being enfolded
within the physical.
As Yulianto Liestiono comments
"Nudity is a very human condition, because there is
no other
creature that can be as truly naked as a human being". By
depicting the models
without the material attributes that define
them specifically in the unspoken language of
human society, Pranoto strips away the imposed trappings of class, social status
and
occupation. He takes away the masks and allows a glimpse at
the core of what it is to be human: to be separate and alone, to
be fragile and vulnerable, to be mortal and transient.
In the painting "Two
Women", despite the proximity of the figures which are
facing each other, a sense of alienation or lack of connection is
conveyed.
In "Floating Light", the contrast of light
and dark in the background, as well
as on the figure itself, and
the body language of uncertainty and vulnerability.
And in the
work titled "Rest" the contrasting shades and textures
of flesh and stone
carry a feeling of the transience of human
existence and experience.
There is displayed in this
exhibition a strong comprehension not only of how materials
work
together to achieve a particular visual impact, but also how
visual images convey
concepts that spoken words could never
properly define.
(Nudes by Pranoto at Galeri
Milenium, Jl. RS Fatmawati No 15,
South Jakarta, though June 30
from 10am to 8pm daily.)