Abstract Empathies

 

SYAHRIZAL ZAIN KOTO (1960)

 

Art Exhibition in The Oberoi Hotel, Bali.
From 07 June to 10 July, 2017.

 

Syahrizal

 

There is a special way to look at abstract works and, here, at Syahrizal works.

As the eyes follow the color up to its ill-defined boundary, one must not ask any questions. One must not because the ‘ill-defined’ here does not indeed require definition. It follows its own logic, the logic of the ‘feel.’ The artist's invites us, color field after color field, nuance after nuance, to converse in a language that is spoken, not in words, but in a poetic blend of colors, surfaces and lines—some real, others simply suggested by the magic of the visual mood.

Some people may ask questions, nonetheless. In answer, let us tell them that works that warrant the name ‘abstract’ are never made by chance. From its inception, abstract art, while looking for new means of artistic expression, has been translated into two different attitudes. In the first, the painter explores intuitively the musicality of form and color. This was the way initiated by the Russian painter Wassily Kandinsky, who invented abstraction by ‘extracting’ it from real landscapes. It the second, primacy is given, on the contrary, to intellectual processes; its pioneer was Piet Mondrian, whose works investigate the visual and emotional effects inherent in geometric combinations.
Syahrizal paintings belong to the first type, Intuitive Abstraction.

Appreciating it requires an intensity of feeling. To achieve this, empty yourself of ‘knowledge.’ Then open up: you will see colors that are not perceptible as colors; lines that do not lead to any object or meaning; and surfaces that simply flow to the mind. Then you may feel it: the leap into an unexpected happiness.

 

Jean Couteau, Ph.D.

 

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