"Yunizar is simply occupied by his need to transmute forms and figures, to smelt and shatter them; and to change texts not into meanings, but into textures."(Enin Supriyanto, Yunizar: Letters & Conversations, In Silence in Coretan: Recent Works by Yunizar, solo exhibition catalogue, NUS Museum, Singapore, November 2007, p. 12)
The work of Indonesian painter Yunizar has always allowed maximum possibilities in interpretation. The artist does not take it upon himself to talk about the ideas and inspirations behind his work, rather he divests the imperative of reading his paintings to his audience. This way, his works continue to challenge and defy fixed aesthetic axioms and interpretative meaning. Yunizar's preoccupation lies in the search for simplicity of expression.
Art critic Enin Supriyanto surmises - "Yunizar does not appear to want to build a narrative of symbolic forms so as to communicate his view and experience of life and the world. He is not plotting to build a sign system to communicate an unambiguous message and meaning. Instead, he merely wants to share feelings and emotions; to welcome us to feel the clamours of the world and the ever moving, impulsive and creative life force." (Ibid.)
The present lot, Texs 1 (Text 1), is an exercise in the search for aesthetic pleasure, where the execution of the painting is a free-spirited and deliberately non-processual mode of filling up a canvas. Yunizar's visual imaging is intuitive and led by its own internal dynamics. An intriguing form is distinctly seen, hovering on a plane that is seemingly beneath the picture surface. Its nature is unfathomable, its origins are unknown, but its presence prevails nevertheless.