DIDI KASI YANTO

Tiga Gadis Putih (Three White Maidens), 1999, acrylic on canvas, 112 x 137 cm.

Didi Kasi was born in Malang, East Java, in 1963. He grew up in an artistic family, his grandfather was a glass painter working in the Javanese tradition. In 1985, Didi Kasi studied design at the Academy of Fine Arts in Yogyakarta (ISI). Since 1987, the young artist has participated in numerous exhibitions in Indonesia (mainly Jakarta and Yogyakarta) and in Singapore.

Didi Kasi’s art work reflects influences from traditional Indonesian art forms, such as glass painting and shadow puppetry (wayang). The figures in the painting are large scale in two-dimensional design. The white faces of the three figures, referred to as Three White Maidens, remind of the masks worn by Indonesian dancers, and their expressive gestures copy the dancers’ characteristic movements. The long robes cover up their gender. The large figure in the center is apparently a female malakai or angel. She has full round breasts and an elaborate hairstyle. She appears to be standing on a three-legged pedestal. The golden wings seem to raise her up. The half-moon in the upper left-hand corner indicates the night-time. The scene reminds of the Christian depictions of the Annunciation to the Shepherds. Of course, it could be the presentation of any vision or apparition scene. Maybe it is the discovery of femininity that shocks the three maidens into a frenzy. The artist uses both, oriental and occidental elements, in his own artistic language. Didi is presenting his unique idiosyncratic approach in a humorous manner. Drawing from his artistic training, he also created an intriguing play of shapes, colors and textures.

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EF FENDI

Bali Dancer Transforming to Stone, 1992, oil on canvas, 72 x 62 cm.
Stone Temple Dancers on Harley, 2001, oil on canvas, 123 X 103 cm.

Ef Fendi was born in Malang, a provincial town in East Java, in 1957. He attended the Academy in Yogyakarta (ASRI), where he became a lecturer after graduation. His passion for traditional Javanese themes might have been inspired by his birth place. Malang was ruled by great Hindu kings between the 10th and 15th century. Today, the town is still surrounded by numerous well-preserved temples and statues, a true well of inspiration.

Ef Fendi belongs to the group of Surrealist Indonesian artists. Some of Fendi’s compositional elements and ideas point to the Belgian Surrealist painter René Magritte (1898-1967). While Magritte fossilizes life forms and the world around him in paintings such as Le Chant de la Violette (The Song of the Violet) or Souvenir de Voyage III (Recollection of Travels III), Ef Fendi offers both, fossilization, in Bali Dancer Transforming to Stone, as well as de-fossilization, in Stone Temple Dancers on Harley. The Stone Temple Dancers do not only become alive, but also make use of modern icons, the Harley bike and cellular telephones. The body of the petrified Bali dancer in the front is covered with a cloudy sky, a compositional idea which could also be inspired by Magritte. Ef Fendi takes these elements and transforms them into a style all of his own. The dark coloring in a pointillist technique with accentuated highlights is intriguing. The viewer is confronted with another quite sophisticated approach to connect old Javanese traditions with modern life.

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ERICA HESTU WAHYUNI

Barongsai (Lion Dance), 1999, acrylic on canvas, 98 x 99 cm.

Erica Hestu Wahyuni was born in Yogyakarta in 1971. She could be considered a prodigy, developing her passion for art already in elementary school. She studied painting at the Indonesian Fine Art Institute in Yogyakarta (ISI or ASRI). Erica belongs to the increasing number of woman artists in Indonesia whose art works are also promoted in the USA.

Erica’s world is colorful and often cartoon-like. She draws and paints people and scenes from her surroundings. A barongsai is a lion dance which is usually performed on Chinese New Year’s Eve. The huge four-footed barong is a Balinese version of the Chinese lion. It consists of a large mask with a body made from cloth that conceals two men who bring life to the mask. The men’s legs are seen as the legs of the mythical creature. In plays, the barong represents good against evil. Erica’s barongsai could be part of any street parade or procession during a Chinese New Year’s celebration. Its huge head is crowned by a curly mane. The vast mouth is wide open and pulled up to a grin. The big round eyes indicate child-like wonderment and happiness quite appropriate for a friendly monster.

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George Grosz, Dedication to Oskar Panizza, 1917-1918, oil on canvas, 140 x 110 cm, Stuttgart, Staatsgalerie. See: Eberhard Roters et al. Berlin 1910-1933. New York, N.Y.: Rizzoloi, 1982: p. 81.