To Erizal, women continue to attract strongly as a subject for his works in relation to a large variety of issues, in particular the world and character of femininity itself. The specific artwork under discussion here cannot be approached with the attitude of a moralist because, apparently, Erizal has not prepared himself to step into the kind of "trap" this type of stance could become. More or less, Erizal appears to be a dreamer - maybe a utopian - in the midst of imagining woman as the ideal within the socio-cultural viewpoint of the East and its conservatism.

This is the overall impression that emerges from the theme presented within the framework of these canvasses. The apples frequently visualized in work of Erizal are a representation of beauty. The grapes are meant as symbols of temptation that intoxicates. Clearly it is not appropriate to debate the visual symbols imbued with the meaning perceived within the subjectivity of Erizal. In fact, it is the desire to explore more fully the significance of the meanings produced by this piece of art that will enrich and color the process of reception.

The use of the female figure to advertise consumer goods, for example, focuses the public perception of female beauty directly on the assumption that woman is a symbol of intoxicating temptation as has been depicted by Erizal. From an extreme point of view, this tendency places or shifts the beautiful figure or issue of sexuality from the "private" to the "public" domain; from the "sacral" to the "profane". This is not only a shift in the perception of the reproductive function of the female from that of procreation to recreation, or from that of ritual to the expression of individual identity and lifestyle. A variety of commercial advertisements that exploit the female figure generally begin with the presentation of an image that gives rise to fantasy in the mind of the public at large and in the minds of women themselves. Thus, the beauty depicted through the media or advertisements can become simply exotic or stop at an artificial level, with no indication or acknowledgement of the inner beauty of a woman which is being displaced by the false reality presented in the commercial advertisements.

This work could be understood to be inspired by a very basic personal modality. For example, the modality of Erizal's cultural background and grounding in the specific traditions of the Minangkabau people with their matrilineal system and strong Islamic roots is bound to give rise to a different view of women than that apparent in a paternalistic culture.

Kuss Indarto

Born on February 3, 1979 in Padang Panjang, Indonesia.
Studies at Indonesia Institute of The Arts (ISI), Yogyakarta (1997).

SELECTED GROUP EXHIBITIONS
1998 Philip Morris Art Award V, National Gallery, Jakarta; "Reflections of Age", Vredeburg Fortress Museum, Yogyakarta.
1999 Group Exhibition of the "Sakato III", Purna Budaya Art Centre, Yogyakarta; Group Exhibition, Ex-Students of Indonesia Fine Art Academy (ASRI) / ISI, Natour Garuda Hotel, Yogyakarta.
2000 Group Exhibition, Embun Gallery, Jakarta; "The 20 West Sumatra Artists", Ciputra Hotel, Jakarta.
2001 Group Exhibition of the "LENTERA", Purna Budaya Art Centre, Yogyakarta; "For All Age", AIR Art House, Jakarta.
2002 "Diversity and Harmony", Sositet Building, Yogyakarta.
2003 Langgeng Gallery, Magelang; "REPLY", Yogyakarta Festival of Arts XV, Sositet Building, Yogyakarta.

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