"Two Generations" offers a rare opportunity of comparing the work of two equally talented painters - Roesli Hakim and his son, Teguh Ritma Iman.Click Images to Enlarge
Born in northern Sumatra in 1936, Roesli, belongs to the generation of painters who came of age in the heady but tumultuous years that followed Indonesian independence. An autodidact, his first art job was painting Chinese calligraphy on sign boards for shop houses of Medan. In 1956 he undertook a program of study in Yogyakarta, a major art center in Indonesia, where he met numerous painting masters, such as the expressionist Affandi. During the troubled years that followed the fall of Sukarno he would move to Bali where he would first
study and then teach art at the National Art Academy. Along the way, Roesli participated in numerous exhibitions.
Growing-up in such an environment, it comes as no surprise that the natural artistic inclinations of Iman, Roesli's son, were stimulated and nurtured. Like his father, he would study in Yogyakarta graduating from Institut Seni Indonesia (ISI)
, the prestigious Academy of Arts in 1996, where he graduated with honors.
The work of Roesli and Iman shows the continuity and contrast that mirrors their common heritage and individual experiences. Both are figurative lyricists whose compositions seek to capture an ideal moment in time.
The Elder, Roesli, is especially respected as a landscape artist. Humans and architecture are often featured but usually dwarfed, such as in his work depicting fisherman and boats. The exception can be found in his market scenes.
Meanwhile, it is easy to speculate that Iman's primary focus is on group portraits, weaving human emotions and human interaction. He particularly enjoys exploring the relationship shared between women and children.
The techniques and styles employed by father and son are markedly different.
Roesli's work is impressionistic. Like the Pointillists, he relies on small dabs of pure color resulting in a shimmering effect exuding light and atmosphere. Iman, on the other hand, relies on large flat fields of bright colors which he fractures and softens with colored patterns, like the tumbling leaf shapes seen in his backgrounds. Unlike his father there is no pretense of dimensionality or naturalism. In many ways his work resembles tapestries or mosaics.
In medieval Europe families of artists continuing "the family business" was not uncommon. This was also the case in traditional Indonesian society.
However, today it is rare to find a family tradition of painting. Both Roesli and Iman have achieved individual recognition in Indonesia and abroad as artists. The current exhibition at the Four Seasons Resort at Jimbaran Bay
celebrates the inevitable bond between generations that can enrich and inspire in new directions."Two Generations"
An Exhibition by Roesli Hakim and Teguh Ritma Iman
February 11 – March 6, 2008
Ganesha Gallery at the Four Seasons Resort at Jimbaran Bay
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