Wednesday, March 24, 2010 at 7:30pm
Saturday, April 24, 2010 at 8:00pm
Jalan Kemang Raya No. 81
VISUAL ART SOLO EXHIBITION
Fazar Roma Agung Wibisono
24 March – 24 April 2010
At Srisasanti Arthouse
Jl. Kemang Raya No.81, Jakarta, Indonesia 12730
Starting the year of 2010, We - Srisasanti Syndicate will presents a Solo Exhibition of visual art entitled “Immortal War”, featuring two-dimensional works of art from Fazar Roma Agung Wibisono, a talented young artist from Bandung, West Java. Fazar will features approximately 21 of his amazing paintings and one of the very latest presentations of our contemporary art. The curator of this exhibition is a young curator who also came from Bandung, Fery Oktanio.
Fazar paints with his heart. There is a full comprehension which he beliefs like “devotion”. Fazar paintings tend to be comical (in style of comic) or graphic novel. Fazar paints directly on canvas, through a sketch stage, basecoat, and then color finishing. Fazar does this without planning and without the help of any tools (e.g projector) or designed it first on computer. According to Fazar, what will appear later in his drawing area has been previously etched in his mind. So when he starts to scratch the fist line, the whole picture has been there in his head. The rest is purely a technical issue.
Oil paint is used in acrylic way, with complete color configuration, overlap and minimal gradation. Construction which emerges in his drawing area is his effort to solidify what he feels and it emerges as a composition of lines, colors and visual forms. Fazar gives those forms a relation and not background so they become more focused alone. Fazar offers these visuals as a message not messages in visual form.
War, is a mutually agreed theme as a reference for Fazar’s concept of works in his solo exhibition this time. War theme is considered able to accommodate his painting style which is decorative, boisterous and full. But from the beginning Fazar has choose his own war. Fazar’s image of war (in concept not visual) is not like the image of war in our mind in which war is a (political) act of involved parties for power, wealth or conquest of territory. Fazar is different. He draws his war line from his personal acts and everyday life. Fazar is spinning a story of his “small” world which is expected to be able to reach the “big” world. Fazar’s “War of Zone” is a dynamic of his everyday life which must be faced every time and formed his character that is always “ready to fight” if needed. Immortal War that will not end unless the life taken away from the body. “It is not a big issue that sparked a mass war, but maybe only through a small event in one’s life,” (Anonymous).
The visual objects in his paintings are taken from various sources and references which he thinks fit to be a symbol or association of what he wants to display of the theme. Fazar takes his reference from various cultural, environment and state; from various myths, legends, and stories. From a daily life of human on earth, general knowledge of things, life on land, sea and air. So we see a fairy figure of Daphne and Apollo god from Greek mythology; a dragon from Chinese folklore; giant robot; animals like ants, eagles, owls, rats, snails, octopuses, sea horses, geese; clouds, fire, ice, water and lightning. There is a battle, murder; anger, pain and passion. Fazar’s drawing area is a sprinkle of various “text” both eclectic and global. Present not for the sake of space and time but only as a reference to strengthen the overall meaning arising from their appearance on drawing area.
A smooth and banal “intertextual” practice is what Fazar paintings offered, as an effect of consumer behavior that is endemic to anyone right now. Consumption pattern that “enter’ into a drawing area, since its introduction by Pop Art, gives effect to increasingly diverse and unpredictable interpreting behavior. It definitely changes the audience. On the other hand, the structure of Fazar paintings gives a contribution to the “design” of the paintings itself that not only prioritize the contents of the message, but also the shape objects, which become the medium of the message. As a result, the process of interpretation and appreciation is primarily directed to recognized shape object, one by one, and then the meaning of its presence in the drawing area, and its relationship with other objects. From there, the construction of the object is forced to be re-read as a whole where the reflection of the meaning or the new implicit message can be found.
Opening Ceremony :
Date : Wednesday, 24 March 2010
Time : 07.30 pm
Officiated by : Mr. Tisna Sanjaya (Artist & Art Lecture)
Host : Mr. Rahmat Bastian
Place : Srisasanti Arthouse
Jl. Kemang Raya No.81, Jakarta, Indonesia 12730
Telp/Fax: (021) 7193954