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拍品專文
The style of the "Bandung" school of artists is one preoccupied with the expression of spirituality, and the act of painting as a means of mediating the personal experience of the natural world. Graduates of the Art Department of Institute Bandung Technology (ITB) in Indonesia, the art of Srihadi Soedarsono, Ahmad Sadali, Umi Dachlan, and A.D Pirous represent the emergence of a distinctively Indonesian style of abstraction during the 70s and 80s.
Known for his paintings of expansive, sweeping landscapes, as well as his iconic depictions of traditional Indonesian dancers, Srihadi Soedarsono has been hailed as one of the most significant living modern Indonesian painters of today. The two landscape works, Red Sky and Sandy Beach (Lot 138) and Blue Sky and Sandy Beach (Lot 139), are deeply expressive examples of the artist's early works. With graceful sweeps of his brush, Srihadi evokes the fleeting moment of watching waves meet the beach, and achieves an atmosphere of transcendental contemplation.
A true pioneer of his generation, the innovation of Ahmad Sadali bore tremendous influence on the development of the Bandung school of art. Meditation (Lot 140) is a highly representative work from the artist's most significant body of works exploring texture. The work reveals a highly textured surface bearing an incision of marks and the addition of other media, forming a meditative abstract landscape that evokes a range of tactile and viewing sensations.
A student of Ahmad Sadali while attending ITB, Umi Dachlan's art continues to regard the canvas as a space for reflection and unmediated expression of the intangibility of emotion and experience. Furthering the style and technique of her teacher, Umi Dachlan developed her own unique sensibility towards form and texture. The predominant palette of orange and brown in Abstract Forms (Lot 142) give the painting a characteristically warm, earthen tone that allows the tired mind a pleasing reprieve. The thick, overlapping layers of impasto highlights the materiality of the work, and its firm connection to themes of nature and existence.
Influenced by the elegance of the calligraphic style from the Middle East, A.D Pirous's dexterity as an artist lay in his ability to combine Western aesthetics of abstraction with traditional forms and themes. The pervading sense of spiritual calm and unity across his body of work is apparent in Perkampungan Di Luar Kota (Suburbs) (Lot 141). The lively intermingling of colour references the life and character of rural communities, and Pirous filters the essence of communal spirit and effervescent dynamism through the expressive staccato rhythms of his brushwork.
Known for his paintings of expansive, sweeping landscapes, as well as his iconic depictions of traditional Indonesian dancers, Srihadi Soedarsono has been hailed as one of the most significant living modern Indonesian painters of today. The two landscape works, Red Sky and Sandy Beach (Lot 138) and Blue Sky and Sandy Beach (Lot 139), are deeply expressive examples of the artist's early works. With graceful sweeps of his brush, Srihadi evokes the fleeting moment of watching waves meet the beach, and achieves an atmosphere of transcendental contemplation.
A true pioneer of his generation, the innovation of Ahmad Sadali bore tremendous influence on the development of the Bandung school of art. Meditation (Lot 140) is a highly representative work from the artist's most significant body of works exploring texture. The work reveals a highly textured surface bearing an incision of marks and the addition of other media, forming a meditative abstract landscape that evokes a range of tactile and viewing sensations.
A student of Ahmad Sadali while attending ITB, Umi Dachlan's art continues to regard the canvas as a space for reflection and unmediated expression of the intangibility of emotion and experience. Furthering the style and technique of her teacher, Umi Dachlan developed her own unique sensibility towards form and texture. The predominant palette of orange and brown in Abstract Forms (Lot 142) give the painting a characteristically warm, earthen tone that allows the tired mind a pleasing reprieve. The thick, overlapping layers of impasto highlights the materiality of the work, and its firm connection to themes of nature and existence.
Influenced by the elegance of the calligraphic style from the Middle East, A.D Pirous's dexterity as an artist lay in his ability to combine Western aesthetics of abstraction with traditional forms and themes. The pervading sense of spiritual calm and unity across his body of work is apparent in Perkampungan Di Luar Kota (Suburbs) (Lot 141). The lively intermingling of colour references the life and character of rural communities, and Pirous filters the essence of communal spirit and effervescent dynamism through the expressive staccato rhythms of his brushwork.