INDONESIAN ARTIST

AFFANDI HERI DONO SERUNI BODJAWATI

PROFILE

AFFANDI HERI DONO SERUNI BODJAWATI

Born : 1907 – May 23rd

1990

Honorary Professor in Painting by Ohio State University

The title of Grand Maestro in Florence, Italy

born in Jakarta on July 12, 1960.

Studied at the Indonesian Art Institute (Institut SeniIndonesia) in Yogyakarta,

Won the Price for the Best Painting in 1981

Born in Yogyakarta, September 1st 1991

Bachelor's degree in fine art from Indonesian Arts Institute of Yogyakarta (2009-2013)

2012: - Inspirational Woman to Other, La Femme Awards 2012 by Leo Club Monas Family (Lions Clubs International).

ART STYLE AND ISMAFFANDI HERI DONO SERUNI BODJAWATI

Expressionist

Fascinated by the Javanese wayang, or shadow-play.

Figure, nature as the subject matter

New-internationalism

ordinary man, wayangkulit, becak driver and tau tau sculptures of the Toraja inSulawesi.

installation artist

Folk-art

Figure and folklore as subject matter

Young artist

ARTWORKS

Title : Perahu danMatahari (Badai PastiBerlalu)

Date : 1971 Media : Oil on Canvas Size : 92 x 137 cm

Title : A Spaceman Date : 2008 Media : Acrylic on

Canvas Size : 200 x 150 cm

Title : Sejoli MengukirDunia

Date : 2012 Media : Acrylic on

Canvas Size : 200 x 300 cm

DESCRIPTION

• cold colors were used as the background of the painting, while the warm colors were used as the color for primary images.

• background he used the wash effect

• Heri used the yellow ochre as the background color .

• the formation of character images, each character has attributes of ‘wayang kulit’puppets.

• a couple that wearing blue traditional wedding clothes of Indonesia.

• . In this painting there are a few architectural monuments and local products such as a Hindu Temple, volcano, trishaw and a clock tower.

• uses bright colorsconsist of warm and cold color

INTERPRETATION

• painting can be interpreted as the struggle men have to face to wade through the ocean to reach a destination

• the struggles the men have to face were brought up as the waves and storms; weather respectively.

• The harshness of life is symbolized by the bad weather; storms and waves.

• be a representation of a tyrant.

• The logo symbolizes the ' sheriff ' or enforcement

• This character is a representation of the people who should be defended, but has been used by leaders in their respective interests.

• depicts the cultural heritage of Indonesia in her art work.

• the topeng of wayangkulit as one of the supporting images as well as Java puppet show, snake lady and masked man.

• symbolized the economy as the public transportation such as rickshaws, tuktuk and etc.

Title : Ayam Tarung(Chicken Fighting) Date : 1979 Media : Oil on Canvas 91 x 136 cm

Title : Gamelan of Nommunication

Date : 2006 Media : Installation Size : Variable sizes

Title : Tiga Jagoan Date : 2011 Media : Acrylic on

Canvas Size : 200 x 145 cm

DESCRIPTION

• shows two roosters fighting fiercely.

• The first rooster has yellowish (white) to golden fur while the other rooster has a darker tone fur. The chosen of color to depict the two roosters somehow has a connection with the truth about life.

• “Gamelan of Nommunication”are various machines installed by HeriDono in the year 2006.

• “Gamelan of Nommunication”are various machines installed by HeriDono in the year 2006.

• Her painting entitled TigaJagoan which can be translated as Three Aces. Here all the portraitures belong to some of the top Indonesian contemporary artist which is Bob Sick Yudhita, Teddy D and Ugo Untor.

• images of lungs, liquor bottles, funnels, tanks with the shape of heart.

• In addition there are 5 images of cone with the color of red, yellow, blue and green.

INTERPRETATION

• The roosters symbolized the struggle between evil and good.

• The usage of local subject to represent the philosophy of good and evil unlike the cliché use of ying and yang

• every human being has to make a decision on what to choose between good or evil.

• man inner self have to fight between good or evil.

• consistently displays a reflection in the form of animism and vitality

• Truth and falsehood are both reduced to the level of rumors and relative meaning.

• aims to capture the machine as mystery, play, magic, and metaphor.

• ‘Jagoan’ is an Indonesian word that can be translated as ace or victor.

• Each of the artists that Bodjawati painted was all renowned artist globally.

VIEW FROM FOUR ASPECTS• ECONOMY

• POLITIC

• RELIGION

• SOCIAL

ECONOMY

• what is the resources of living during that decade which mostly were involved fishing and farming

• artwork represented an environmental policy put forth by the government of President Suharto that ruled Indonesia from 1967 to 1998

• the savior actually oppressing the commoners while trying to save them

• The economy was symbolized by the use of public transportation such as rickshaws, tuktuk and etc.

• These vehicles are used as a mode of transport

• As a source of finance and economics for the people of Indonesia.

SOCIAL

• the folk traditions that became a popular entertainment especially in Java

• painted the character wearing Balinese traditional clothes

• linen shawl, Wastracloth, belts, kris, Undeng, Umpal and decorative ornament.

• opt to use elements from folk tradition known to Indonesian; wayang plays, the life of common man, a becarider, and tau tauimages.

• inspired by universally famous cartoon heroes such as Flash Gordon

• painted a couple dressed in Indonesian traditional wedding attire

• painted a few ‘wayangkulit’ characters that are synonymous with the Indonesian.

POLITIC

• oppression and among them are the disbanded of LEKRA (LembagaKebudayaan Rakyat)

• represented political representatives as puppets, clowns, angels, demons, monsters and kings.

• character used are Ramayana, Mahabharata or from the Serat Menak

• political representatives as puppets.

• Marriage because of monetary policy.

RELIGION

• we can conclude that every man’s life have back and forth in it.

• There will always tortuous journey that should be encountered for happiness in the future.

• life philosophy of not given up easily.

• based on the phenomenon and practice rituals seen in primitive religions of Java and Bali.

• displays a reflection in the form of animism and vitality.

• animistic element which was portrayed by a picture of the temple of Borobudur.

• ‘wayang kulit’ were shown in the painting as the continuity of the nature and practice of the Hinduism.

CONCLUSION0Difference ages yet almost identical idea/subject

which consist of nationalism, elements of community life such as economics, folklore and political issues.

0The three generations of artist consistent in using figurative in their paintings.

0Most of their artworks representing their country.