Yunizar is uninterested in the socio-political themes that run through his contemporaries' work. If anything his works are almost a reduction of this ideological process where he returns to the basics of painting in an almost childlike manner. His works express a certain innocence that is derived in the earliest memory of human creativity, restoring the basics of feeling and getting acquainted with various media. This however, does not mean he disregards conceptual issues. They exist but perhaps not at the conventional stature of importance.
Through his 'play' with materials, he manipulates them by impressing through the simple lines, forms, colour and even the textural surface of the canvas, to higher levels of sophistication, as expressed in this work Seribu Pancing (Thousand hooks). The lines are bold if not slightly erratic, forms are relatively circular, colours are simple and somewhat muted with the paint concentrated on certain sections of the canvas articulating gradation of tones and enhancing the work's depth. The work is not fully abstract though as the hints of the hooks, as suggested in the title, emerge.
It is Yunizar's intention to apply, simply, basic familiar subjects in this work. His attitude to his canvas is uninhibited, in effect, it is spontaneous and enthused. That is the unconventional beauty of Yunizar's works.