FAIZAL

Barongsai (Lion Dance), 1996, oil on canvas, 113 x 102 cm.

Faizal was born in Solo (Central Java) in 1965. He studied painting at the Indonesian Art Institute in Yogyakarta. He has traveled in Asia and Europe (especially the Netherlands and France). Faizalss works have been in numerous exhibitions in Asia as well as Europe since 1987.

Faizal was born in Solo (Central Java) in 1965. He studied painting at the Indonesian Art Institute in Yogyakarta. He has traveled in Asia and Europe (especially the Netherlands and France). Faizalss works have been in numerous exhibitions in Asia as well as Europe since 1987.

Faizal’s works are often colorful, and nearly always filled with fantastic, imaginary creatures. The artist often paints himself into the images as a bird or an elephant. His painted world appears joyful, hedonistic, once in a while child-like, and occasionally mischievous. It reminds of works by the Swiss artist Paul Klee (1879-1940) or by the French painter and printmaker Jean Dubuffet (1901-1985) or by the U.S. painter of Haitian and Puerto Rican descent, Jean Michel Basquiat (1960-1988).

Different from Erica’s Barongsai, Faizal’s interpretation is surrounded by darkness. The lion’s face seems fiercer, the teeth look more dangerous, but the human dancers’ feet are more obvious. It is interesting to note that the artist chose his own working hours as the time for his barongsai. Faizal usually works from 11 p.m. to 4:30 a.m., and then sleeps until the early afternoon. He is considered quite a loner by his artist colleagues and by himself. Maybe the fierce red-faced barongsai is meant to be a self-portrait?

Back to Top

MANSYUR MAS'UD

Borobodur, 2000, hardboard printing/hand colored, 2/30, 71 x 79 cm.
Pinggir Jakarta Utara (The Border of North Jakarta), 2000, hardboard printing/hand colored, 2/30, 62 x 62 cm.
Pasar Kaget (Day Market), 1995, hardboard printing/hand colored, 18/30, 62 x 62 cm.

Mansyur Mas’ud was born in Ujung Pandang, South Sulawesi, in 1960. Roughly the size of Kansas, Sulawesi is Indonesia’s third largest island. South Sulawesi has spectacular limestone mountains and a far outstretched coastline with large harbors and romantic fishing ports. The capital, Ujung Pandang, is a commercial, shipping and government center. In 1981, Mansyur enrolled at the Indonesian Art Institute in Yogyakarta. He focused on graphic arts. Earning several scholarships, Mansyur graduated in 1988. He taught art at the University in Medan, North Sumatra. The artist participated in numerous exhibitions in Indonesia and Japan.

Mansyur Mas’ud’s trademark is his special printing technique. He employs a relief printing process. Taking advantage of the surface characteristics of the material, he cuts his design into hardboard. Mansyur then applies black paint with a rubber roller over the surface of the hardboard and presses the board manually onto paper. In a third working step, the artist applies colors with a brush. The results are beautiful scenes full of live and atmosphere.

Like the majority of his art colleagues, Mansyur concentrates on Indonesian themes, usually traditional scenes or views. The scene of North Jakarta showing houses, a street vendor and a bajaj is as typical for the bustling Indonesian capital as the scene of the day market which actually could be in any large Indonesian city. Both scenes are vibrant and full of busy city life. The large Buddha figure from Borobudur emanates stillness, spirituality and an atmosphere of meditation. The view is quite familiar to Indonesians and tourists alike. It is interesting to note that the Dutch photographer Paul Beiboer found the same panorama attractive enough to produce various prints.

Back to Top

27

M. Dwi Marianto. "Hedonism and the Fantastic Logic in Faizal’s Painting." This article was sent to me by an Indonesian Gallery without source. However, Martinus Dwi Marianto is a reputable Indonesian art critic who has written extensively about contemporary Indonesian art.