His background as a self-taught artist makes Kurnia apparently free from any burden in creating abstract works - a genre most academic artists will readily dismiss as old-fashioned. In 1979, when Kurnia started to create abstract paintings, the genre still had some strength indeed. But the fact that he is still doing exactly that until today can be seen as an extraordinary consistency. Naturally, this has to do with the artist's belief and trust in the genre of abstract paintings.

Unlike formalistic abstract paintings that mostly use rationalistic approaches in processing the visual imagery in order to create the essence of forms, Kurnia puts more emphasis on the 'feeling' and 'emotions'. However, Kurnia is also an analytical and rationalistic artist, who naturally has technical skills and mastery. What is interesting in Kurnia is his choice to free himself from rigid creative patterns. Sometimes his works simply flow, using mostly his rational power in composing forms. Yet other times the works appear to be highly personal and intuitive. Both tendencies, however, are always present side by side, differing only in their amounts. That is why his paintings always show some formal constructions, resulting in harmonious and coherent works. This shows that Kurnia also thinks about formal components and methods of paintings.

Most of Kurnia's works are actually not purely abstract. The forms that appear on his canvases are abstractions of natural forms, especially the animals. We can be sure that Kurnia has no intention to re-draw the animal figures; instead, he borrows the figures as a means to create the poetics of forms. This is the reason why bizarre creatures or magical objects sometimes appear on Kurnia's canvases, as he finds it important to release the flame within him, which he calls the "dynamics." Such flames or dynamics become the artistic potentials that Kurnia works on beautifully and wholeheartedly.

As a result, Kurnia's works are visually beautiful. There are some sublime and deep nuances, but still they appear cheerful enough. This is the consequence of creating works using feelings, emotions, analytical skills, and visual sensibility at the same time. Kurnia's consistency gives him a special and strong place in the world of paintings in Indonesia, especially when most painters put more emphasis on the textual potentials of their works. In this case, Kurnia appears like an artist who still believes in the romantic principle. There is naturally nothing wrong with this; rather, this perhaps becomes his specialty and strength.

Asmudjo Jono Irianto

Born on 1960 in Semarang, Central Java
Self-taught Artist.

SELECTED SOLO EXHIBITIONS
2001 "Bali 3000", Ubud, Bali.
2002 Milenium Gallery, Jakarta.

SELECTED GROUP EXHIBITIONS
1998 "The Reflections of Art '98", Darga Gallery, Bali.
1999 "Figure" Drawing Exhibition, Bali; Philip Morris Indonesia Art Awards 1999, Jakarta.
2000 Group Exhibition of the "00", Ganesha Gallery, Four Seasons Resort, Bali; "Indonesia Archipelago Millenium Aesthetics 2000", Grand Bali Beach, Bali.
2001 Group Exhibition, Bali Flowers, Kuta, Bali.
2002 "Dimensions of Raden Saleh", Semarang Gallery, Semarang; Group Exhibition, Sienna Gallery, Semarang.

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