Srihadi Sudarsono

Galeri Nasional Indonesia, Srihadi Soedarsono: 70 Tahun Rentang Kembara Roso, 11 – 24 February 2016, Jakarta, Indonesia

This work is in good overall condition as viewed. Framed.
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Within the timeline of modern Indonesian painters whose works were largely defined by existing sociopolitical and economical environments, there was not much opportunity for Abstract Expressionist works to find their voice amidst the nationalistic aesthetics that defined the country’s period of post-independence from Dutch rule. Individuals such as the Javanese painter Srihadi Soedarsono stood out from the majority, for his colorist paintings are passionate renditions of the external landscape as experienced by the artist.

The present piece Melasti Procession Through Golden Rice Field perfectly exemplifies the artist’s favored aesthetics and compositional layouts. It should be highlighted that the painting is the largest work by the artist to ever come to auction. The sheer size of Melasti Procession Through Golden Rice Field further communicates the majestic presence of the Javanese topography, as well as the artist’s unwavering adulation for his homeland. Srihadi’s approach to Color Field Theory captures the essence of nature and redefines the landscape in a vibrant display of hues. “What you see in my painting is not a physical impression but rather a manifestation of the spiritual essence of the subject”, Srihadi explained^1.

Throughout Srihadi’s oeuvre there is an underlining energy that pervades each artwork with a singular rhythm that pulsates and shimmers amidst the thick brushstrokes and splashes of animated colors. Within a Javanese context this is known as “rasa”, and touches every aspect of the residents’ interactions and belief system. Loosely translated, the word refers to a mystical and spiritual feeling. However when analyzed further the word also alludes to a combination of intuition, awareness, instinct, and absolute knowledge. “In Java we believe in the physical, mental, and spiritual rhythm of life. This is what we call ‘harmony’, through which God demonstrates His blessings. Creating things with love and care, and simultaneously understanding the meaning of spiritual surrender, with dignity and self-respect, one can know the real meaning of life”, he said². Therein lies the heart of his oeuvre—the act of painting becomes a spiritual act that connects the artist closer to the Divine.

As a youth Srihadi was respected as an illustrator for resistance posters, embracing the chaotic energy that colored Indo-Dutch relations prior to the country’s independence in the forties. However politics itself is never black and white, with the pendulum swinging both ways in equal measure. After the Indonesians secured independence from the Dutch, a localized government arose into power. In response to the European aesthetics that had influenced local art till then, the new authorities favored Indo-specific aesthetics in the country’s creative expression. Srihadi’s compositions that embraced colors rather than figures did not adhere to the new artistic policies, and confounded political leaders with their overly “Western” aesthetics.

In 1960 he had the good fortune to receive a scholarship to study at Ohio University in the United States. These few years were extremely beneficial in expanding his creative vocabulary and familiarizing himself with the Western art movements of that decade: Pop Art, Minimalism, and Abstract Expressionism. It was the latter school of thought that resonated with his Javanese spirit, and where his “quest for the essence of things”³ found its true voice. Unlike the American abstract artists who desired to intellectualize the external landscape, Srihadi perceived Abstract Expressionism as a conscious art form, rather than serving to dissect the psyche in a series of shapes and colors.

The present work is a culmination of the artist’s studies with Abstract Expressionism. Melasti Procession Through Golden Rice Field is one of the most ambitious pieces from his career, partly due to its size as well as the attention given to the natural landscape that accurately conveys the artist’s great connection with his physical environment. As per the title of the painting, Srihadi’s color scheme enables the audience to envision a lush field filled with villagers amidst golden rice husks swaying silently in the tropical breeze. Reminiscent of the artist’s Horizon series that he created in the early sixties, Melasti Procession Through Golden Rice Field follows a similar compositional layout where the horizon of the island geography simultaneously meets the foot of the mountains together with the azure shadow of the sky.

“Art is a thought process that accords with the Javanese principle of striving for betterment of the world,” the artist said, “This is an achievable goal, but there [important] points to keep in mind: The first and most important is the concept of artistic activity as of channeling of the positive energy that emanates from a combination of spirit, feeling, and will. These factors are at the core of man’s creative ability”⁴. The present work is essentially a poetical discourse on Mother Nature. The yellow and green flora and fauna paired with the calming blues of the rocks and clouds transpire their physical properties to invoke a spiritual revelation between the audience and the painting.  A very special piece from the artist’s oeuvre, Melasti Procession Through Golden Rice Field is a lyrical narrative of the artist’s inner soul and his great appreciation for the world around him.

¹ Jean Couteau, Srihadi Soedarsono: The Path of the Soul, Lontar Foundation, Jakarta, Indonesia, 2003, pg. 73

² .Refer to 1, pg. 87

³ Refer to 1, pg. 33

⁴ Refer to 1, pg. 99