Bambang Pramudiyanto once studied at the STSRI ASRI art school which is now known as ISI Yogyakarta. During his formal educational experience, Pramudiyanto had some problems in finishing up all of the required courses in the program he was following. In the end, he decided not to finish this formal education. He chose, instead, to become directly involved in the world of art in Indonesia which he perceived as more conducive than burdening himself further with formal education. It is this decision that keeps Pramudiyanto from ever giving up the creation of art.

Pramundiyanto is currently emphasizing an aesthetic tendency toward hyper-realism, a painting style dominant in America in the mid 1960s. To Pramundiyanto, the tendency constitutes a way to more deeply comprehend and explore the world of objects. Through this approach, objects become brighter and somehow even dramtically shinier. The world of things that we are familiar with suddenly shifts into a visual presence that we do not usually perceive. Pramundiyanto makes his canvasses into signals pinpointing the waves of indutrial products introduced to the public, and commentary on the world of objects that are a symbol of the temptation of consumerism.

"I want to make a statement about what we encounter in our daily lives," Pramundiyanto once commented. Is he commenting on a social phenomenon or making a critical statement about what is happening in the midst of society? Is this an impact of consumerism or a result of the "developmentism" that has been going on in Indonesia? He makes no definite response to this question in his work. "Civilization as reflected in the way of life of human beings can be seen in the expansion and growth of awareness the pattern of thinking mankind holds in relation to nature.," he said. To Pramundiyanto "The symptoms of a shift in values and the ensuing problems give rise to personal anxiety within the larger context of the community. This conceptual basis is something I put into my work as an expression of and reaction to the issues arising within a given conceptual framework or way of thinking."

In the work displayed in this biennial, for example, Pramundiyanto "dumps" a number of industrial icons characteristic of capitalism into his visual presentation: The snout of the Jaguar sedan, clocks, shoes, filter ciagrettes, and American currency. A banana, depicted smaller than normal and in a style not as realistic as the icons stands out against a red background. The Scent of Banana is the title of this painting.. After initial observance, this work reminds us immediately of the - lets just say - danger of capitalism and all of its impacts. This painting seems to remind us: Could it be that we could slip again and let ourselves become so blinded by the flashiness of capitalism, as is believed within so many circles of Indonesian society, that we are again paralyzed by an economic crisis like that has swept our country in recent years? Or, is this what this artist is trying to say?

Maman Gantra

Born on September 10, 1965 in Klaten, Central Java.
Studied at Indonesia Institute of The Arts (ISI), Yogyakarta (BFA; 1989).

SELECTED SOLO EXHIBITIONS
1999 "Iconic Realism", Kinnara Gallery, Nusa Dua, Bali.
2001 "Continuous Restlessness", Cultural Centre, Jakarta.

SELECTED GROUP EXHIBITIONS
1998 Group Exhibition, Kinnara Gallery, Bali.
1999 Yogyakarta Fine Arts Biennale VI, Yogyakarta.
2000 Group Exhibition, Kinnara Gallery, Bali.
2001 Yogyakarta Fine Arts, Yogyakarta Cultural Centre, Yogyakarta.
2002 "Still Life", Expatriart Gallery and Vanessa Art House, Jakarta.

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