Agus Suwage

Yogyakarta, "Beautify", Cemeti Art House, Yogyakarta, Indonesia, 08 - 29 April 2001

The paintings are in good conditions.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

At over seven meters long, Agus Suwage's Impermanence Landscape commands a grand presence. Painted monochromatically in black, white and gold, with the latter as a predominant colour, the great expanse of pictorial narrative is strong because of the simplicity of its composition. The picture plane is divided into five panels, the imagery flowing continuously one after another. Resembling Greek temple columns, four nude self-portraits, painted in white to resemble limestone or marble, anchored the painting along vertically, setting their full height to the entire width of the canvas. Each pose is different. In the first stance, the figure's palms are joined together and his head is bent down in prayer. The next one is a three-quarter back pose, exposing the hands tied behind his back by vines that entwine him from head to toe. In the third pose, the figure's hands are raised in front of his eyes, as if blocking his vision from something fearsome. The last column resembles the first, but his arms are now on his sides and his palms are open, facing upwards – an act of submission and readiness to accept his fate.

Between the 'columns' the viewer catches glimpses of alternating vistas, like windows to another world. The first is an austere composition with a white stylized skeleton inside a black oval in the middle as a focal point. A rendering of the ancient city of Knossos in Crete, which is scattered with words in its mirror image – some relating to the landscape, some not – fills the middle opening while a garden of candles completes the last. Each of these 'landscapes' assert the idea of impermanence.

The Minoan's Palace of Knossos (approximately 1700 – 1375 BC; discovered circa 1900), exemplified one of the most sophisticated structures in ancient times. Covering an area of six acres, with 1,300 rooms, part of the palace was built up to five stories high and was equipped with bathrooms and a technologically accomplished water supply system which included supply, drainage, and waste. The Minoan Civilization is often credited as the first cradle of civilization, yet it collapsed in 1375 BC, proving that even the most advanced civilization was not invincible. As surely as the light of a candle would be extinguished, nothing is ever permanent.

This understanding is the very core of Agus Suwage's views on all aspects of life. In his own words, "Nothing static, nothing absolute." It is interesting to note that one of the words scattered over the picture of Knossos is "FAITH", conveying Agus Suwage's preoccupation with the mental and spiritual aspect in dealing with impermanence and the experiences that surround it: loss and gain, birth and death. Humanity's need to believe in the value their existence has led them to journey in restlessness, both spiritually and physically. In this narrative, Suwage closes the chapter with a blown up profile of himself, eyes closed in submission, acceptance and peace.