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THE CHANGE INTERPRETED | HISTORY | LOCALNESS YUNIZAR > BIO | FEATURED WORK
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Interestingly, Yunizar' s works did not lean toward either of the main tendencies mentioned above. Certainly, seen from a thematic point of view, Yunizar' s paintings have a base among seemingly insignificant issues —running counter to the trends toward the socio-political art that has been developing more extensively in Indonesia since the fall of the Soeharto regime. Indeed, Yunizar has never been an artist known for bringing up and developing grand themes or narratives. He/she has always much more preferred to play around with materials - mixing, knitting, extending, sewing, and gluing all kinds of objects on her paintings — but always without any intention of using these materials in a personal manner or in personalizing them. Sometimes, all this artist cares about presenting is the manipulation of the language of the materials, or, at the very least, setting forth specific impression through the use of contrast, lines, forms, color, or the quality of the surface of the painting, or even carrying this preoccupation to the smallest aspects and issues of the visual vocabulary in general. Yet, approached from even another point of view, it still cannot be said that Yunizar is seeking the essence of a more beautiful expression of visual language. Her paintings are frequently muted, and not at all eye pleasing. This artist is not dealing with or mimetically depicting something that exists within the reality of nature. The repetition of dots, lines, curves and the collaging of objects - all done with an extraordinary intensity - on her canvasses are only meant to stimulate the imagination of the viewer about something that remains indefinite or tentative. Her approach to painting is sometimes apparently naïve, but this does not mean that it sets aside or ignores conceptual matters. For example, the work, Kekuatan Gerak (The Strength of Movement), which is included in this exhibition, actually emphasizes the monotony of the repetition of the placement of buttons as objects on the canvas, and totally rejects and ignores the true connotation of actual "movement" as it is generally understood. The strengths of Yunizar's works can be seen in the vocabulary of form always visible and apparent through the artist' s persistent countering of the conventions of the language of art itself. Agung Hujatnikajennong Born on June 4, 1971 in Talawi, West Sumatra. SELECTED SOLO EXHIBITIONS SELECTED GROUP EXHIBITIONS |
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Yunizar' s works elicited a negative buzz among art critics in Indonesia when he/she held the Membuka Kemungkinan (Opening Up Possibilities) exhibition with five colleagues linked in the group called the Fine Art Window Group (Seni Rupa Jendela - KSRJ) at Taman Ismail Marzuki in the middle of 2000. Several reviews were printed in the domestic mass media taking an overall negative view of that exhibition. The works by the KSRJ group, including the paintings of Yunizar, were criticized as ‘lazy' , ‘annoying' , ‘meaningless' creations, or art that was ‘highly derivative from that produced by the peoples of other countries' . The character of Yunizar' s works presented in that show did indeed diverge from the qualities seen in her previous work. Her paintings were non-representational, although not abstract; full of repetition, but not decorative; indecorous and expressive, but not at capable of eliciting the emotional response usual with paintings exploring color symbolically.