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THE CHANGE INTERPRETED | HISTORY | LOCALNESSAY TJOE CHRISTINE > BIO | FEATURED WORK
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Ay Tjoe Christine is well aware that the technique she is using is an exclusive one. Her experience in creating incised lines using needles on copper plates has made Ay Tjoe Christine's lines appear natural. The lines in Christine's works have become the main and unique part of her art. They become her identity, the hallmark of her works. In her works, Christine does not wish to talk about a grand narrations that have become today's hegemonic discourses. Instead, she rather dwells on small, trivial matters: plants, human beings, the realm of objects. Her solo exhibition, Open to See (2001), was the result of her personal meditation and quest to search for something behind the concrete objects. Christine stripped bare her objects down to their essential forms such as lines--the main part of her works. In this exploration, Christine had practically put a bet on her stamina. Her hands danced, following her intuition, as if she wanted to melt the dividing line between metaphors and concepts. Or perhaps she wanted to dissolve the borderline between the quest for her identity (the I-as-subject) and the objects outside the I-as-subject. Ay Tjoe Christine's works extend beyond dry-point art, drawing, and painting. In the exhibition From Abstract to Metaphors (2002), she presented the dolls she had knitted to personify figures in her two-dimensional works. At first look, these dolls appeared as talismans or something from old rituals and legends, from a belief about magical charms. Christine wished here to talk about "the spirit of things," the existence of such spirit around us--whether we realize it or not. Her latest solo exhibition, Aku-Kau-Uak (2003) is an exhibition that wishes to convey several things. First of all, it tells us that the sensitivity for lines, forms, space, and colors, and their mixture with figures, are the basic elements of visual art that can be infinitely explored. Secondly, it asks whether we can imagine another dimension beyond our being, which serves as the drive, the source to our power, the imaginary realm where we murmur, complain, whisper, or merely sigh--a realm beyond our logic. For Christine, such a space might be manifested in the second or third person form. It is a space that can overpower us with ease. We know about it, but we are not necessarily aware of it. Or rather: we are aware of it, but we find it difficult to understand. Ay Tjoe Christine's works are highly personal; they use a private language whose meaning can be impenetrable for others, making these works difficult to read. But it does not mean that this private language is of an alien nature. Aminudin TH Siregar Born on December 27, 1973 in Bandung. SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS |
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CP Foundation | About CP Biennale | 2003 | 2005 | Contact Us
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While female graphic artists are still a rarity in Indonesia, Ay Tjoe Christine notably emerged as one of the signposts in the development of Indonesian graphic art. She is popularly recognized as a loyal herald of the dry-point technique. In printmaking, this dry-point technique indeed demands a lot of the artists' sensitivity and stamina. The impression born from the sharpness of the needle will be very different with the lines in, for example, a drawing.