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Lot Essay
"The formal structure of Srihadi's work is very simple; the composition of most of his paintings is organized either by a horizontal or a vertical axis. The horizon refers to nature and the cosmos, and the vertical to man. Paintings in his horizon series are almost perfectly linear, save for their colour detailing or the minute irregularities in layering. Similarly, the figures of most of the dancers are upright, except for their hair, arms and clothes that subtly divert the eye from the perfect axis. Within the core of these two simple axes, however, emerges a complex micro-versus-macro dialectic of repetition and symmetry, this time formally produced as vertical and horizontal waves. The visual equivalent of the iconographic series is almost perfectly linear, save for their colour detailing or the minute irregularities in layering. Similarly, the figures of most of the dancers are upright, except for their hair, arms and clothes that subtly divert the eye from the perfect axis. Within the core of these two simple axes, however, emerges a complex micro-versus-macro dialectic of repetition and symmetry, this time formally produced as vertical and horizontal waves In short, Srihadi's paintings are constructed with a well-coordinated, multidimensional modulation of elements with a strong framework." (Jean Couteau. Srihadi Soedarsono: The Path of the Soul, Lontar Foundation: Jakarta, 2003, p. 105.)
The present lot is constructed around two axes, vertical and horizontal, which follow the posture of the two women and the horizontal orientation of their seating, as well as the line which separates their top from their bottom. Although these axes are important to Srihadi's work, they are never perfect. Some may be inclined to the right or left, others upward or downward. In this case, the positioning of the two women is seemingly sitting in the same pose, but one is gazing down at a flower in her hand and the other is looking straight at the viewer with her hands down on her lap. This manipulation of orientation creates a dual sense of imbalance within an otherwise ordered composition, while also creating a sense of repetition through parallel lines and surfaces.
Srihadi also conveys his message with limited iconographic and representational elements. The artist only portrays what he feels he has to and thus gives us as little descriptive detail as possible for his objects. He presents these iconographic elements in dialogue with each other within the frame of the painting. The flowers in this work evoke a sense of the ethereal while also helping to disrupt the regularity of the composition.
The present lot is constructed around two axes, vertical and horizontal, which follow the posture of the two women and the horizontal orientation of their seating, as well as the line which separates their top from their bottom. Although these axes are important to Srihadi's work, they are never perfect. Some may be inclined to the right or left, others upward or downward. In this case, the positioning of the two women is seemingly sitting in the same pose, but one is gazing down at a flower in her hand and the other is looking straight at the viewer with her hands down on her lap. This manipulation of orientation creates a dual sense of imbalance within an otherwise ordered composition, while also creating a sense of repetition through parallel lines and surfaces.
Srihadi also conveys his message with limited iconographic and representational elements. The artist only portrays what he feels he has to and thus gives us as little descriptive detail as possible for his objects. He presents these iconographic elements in dialogue with each other within the frame of the painting. The flowers in this work evoke a sense of the ethereal while also helping to disrupt the regularity of the composition.