Haryadi Suadi has chosen the language of graphics that continues to adhere to the faith in ideography which presents more than one written message along with drawings or depictions of visual images in order to bring a concept to fruition through symbolic values.

These qualities of Haryadi Suadi are apparent in the work of art titled Jaman Cacat II, which originates from a piece of text selected from the work of the great Raden Ngabehi Ronggowarsito. Haryadi takes and uses this snippet of commentary as a way of introducing a train of thought forming the ideography that takes the form of the traditional beber or scroll drawing. The text is then translated through reduction into the language of drawing that sets forth symbols without parody so there is a true marriage between or blending of the directly stated and the symbolic. These works are much richer due to this duality. The language of the wayang is certainly appropriate for expressing this duality and for opening the door to the potential and possibilities of truly free and unhampered interpretation. The contemporary is also portrayed by Haryadi Suadi in this work through his adherence to the strength of shape and the form of the story told through a series of drawings as if in a comic strip. He invites us to step into a mirrored space in which the narration going on is not foreign to us because the statements being made constitute juxtapositions of reality and the contextual importance of the issues being dealt with. Because, when we begin to touch on the text of Jaman Cacat we seem to be encountering a reflection of the current situation and it seems that nothing really has changed all that much.

Haryadi has succeeded in knitting together the relationship of the past and present, just as if he were setting up the vertical side mirror of an automobile next to the horizontal rearview mirror used by the driver inside the car so that we can get a completely clear view of the situation we are facing. This reflection of reality is achieved with great clarity, although contained within the work are also symbols that open up even other understandings. This is true of the vast majority of Haryadi's works, whether they be graphic art pieces or glass paintings. He always infuses the presence with an intelligence of awareness through teasing and tickling our sensitivity and concern. He is even able to control and manage the exploitation of personification and configuration in such a way that they do not become hyperbolic. This is why even the passage of time will not dim the brilliance of Haryadi's artworks, even though some viewers who are not of the same ethnicity may have a bit of difficulty interpreting some of the meanings and significance of these artworks.

Haryadi Suadi himself has developed a stance and a cultural framework of thinking referred to as caruban in his place of origin in Cirebon, West Java, which describes the mixing of the Javanese, West Javanese and Chinese ethnic cultures occurring in that region. Within this framework of thought, there are hidden the symbols of this 'multi-sub-cultural' influence that are a very important part of this artist's creative process and his artworks. In front of one of Haryadi's artworks, we get the distinct impression that we are standing at a specific coordinate to which are directed myriad multicultural parabola antenna. And we are invited to reflect deeply upon the images being directed at us.

Mamannoor

Born on May 20, 1939 in Cirebon.
Studied at Bandung Institute of Technology (ITB), Bandung (BFA; 1969).

SELECTED GROUP EXHIBITIONS
1998 Recent Graphic Art Exhibition, Soemardja Gallery, ITB, Bandung.
1999 Graphic Art Exhibition, International Fukuoka City Art Museum, Japan; Indonesian Graphic Art Exhibition, Jakarta Art Council, Jakarta.
2000 Bremmer Gallery, Tillburg, Nederland; Exhibition of half a century of Indonesian Graphic Art, Jakarta.
2001 Graphic Art Exhibition, Bandung Art Event (BAE), Bandung.
2002 " Tension and Harmony" , Nadi Gallery, Jakarta.

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