Katirin (1967)

 

Art Exhibition at The Oberoi, Bali.
From October 29 to December 21, 2018

 

flyer web Katirin

 

It is not an unimportant decision for an artist to try to make his or her mark in the informal side. Because, once you make your choice, not only are you exposed to sneer by ordinary folk –who say you cannot paint—but you have also to demonstrate that you have something to say.
You cannot hide anymore behind the geometrization of objects nor even behind abstract color geometrical forms for their own sake, nor can you pretend to reveal the structure of your subconscious like action painter are doing with their repetitive color swabs over the canvas.

No, you cannot hide behind the historical tricks of painting history.
You are alone with yourself, because informal art, when it retains some figuration, exposes nakedly who you are, not who you pretend to be. You don’t play with anything fully conscious nor fully unconscious. You try to complement the first with the latter, combining vague figurative forms with spontaneous splurges of color.
By doing so, you expose the true layers of your personality. You reveal, or try to reveal both the sensitivity and the intelligence that are guiding your path.

 

Informal art as described above is the challenge Katirin, a painter from Yogyakarta, is faced with. In his works, what he paints are not clear icons, nor even obsessive ghosts of his past, but leftovers from his memory. He has lived in a city, he has trampled the ash of volcanoes. He has seen things and people come and go. This is what he is “talking” about. Nothing idyllic. Haunting figures that come and go in which we can recognize what belongs to us all as humans, beyond our differences as Javanese and Balinese, as Indonesian and alien. Katirin shows use the common images of life, not as we see it, but as we feel it.

 

Jean Couteau Ph.D

 

 

 

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