Curator's Review
Puguh Tjahjono
We are able to recall briefly in the aesthetic theories of modern art, that beauty can be achieved when the sensor on one of our senses are stimulated by something different, spacing elements, contrasting elements or a kind of it values.
Sunandar Agus or I usually call him "Kang Agus". I knew him and immediately established close relationship with him since 1995. At that time he was having a "commotion" - "burning" age of visual transition, although in front of his house in Jl. Raya Cugenang Cianjur - Bandung, Indonesia, still emblazoned with : "Agus Sunandar, Fine Art Expressionist". My first visit, long before his house and his studio renovated as comfort as now, have directly witnessed some of his earlier paintings which he firmed as expressionistic and his new works which he said was the impulse that he will develop later. Some of his expressionist canvases consist of transitional agrarian society figures, man and woman romance, beach life, and one or two bertaferil landscapes. His visualization mold often using the composition of the tropical colors of blaspheming, red, black, yellow, indigo blue or tosca green. The keynote of his expressionism based on a brush stroke, by waving a width of it on the background field that sometimes leaving a white parts. Black color often inscribed by him as contour lines of his thematic subjects (figures), inscribed with full power almost without hesitation, even sometimes damage the parts that might actually be expected as undisturbed areas (head, face parts, etc.). Such subjects should not figure as accurately as a blind grope. he didn't always accept the complement of light as in the realism and expressionism style that focuses on the gradation of dark and light, pure to pale gradually, but simply put a stronger color contradiction. His impressionist works, which may be exhibited in this event, is not much that I saw at that time.
Enjoying his recent works (since 1995), clearly captured a "massive" visual reform that he did for his creative journey as well as interpreting the conclusions of a spiritual journal that he reaped from all of his "temple of life". Expressionist which he traveled before, with a thickness of tropical colors, which can be strongly suspected as an influence from his settlements in Bali, anxiety complex as a youth overseas human figure by a number of psychological strain on the sacrifices that must be done within the context of family and vice versa, sacrifice of his family to him. Then he entered a new creative territory. In addition to his trip to Egypt, his meeting with pictograf, his mind trajectory on what was experienced by Picasso, and his trip to the land of tulips which might has the weather pleasures as same as Cianjur (calm and full of beauty); also contained a reflection of more stable psychological management mechanism and a perception that increasingly confirm spiritual beliefs by responding firmly what the mission and vision of his life, of course also to the context of horizontal and vertical. The transition visual works of Kang Agus which he developed at this time is like an eagle who entered the period of "kebegawanan". A self-placement on a region that had increasingly lofty spiritual responses. He has soothing paintings, thrift from various strains which is nearly identical to mountainous region where he stayed. Mountains to the semiotic nature of humanism is a lexicon that provide comprehension transcendental topics. Quiet area, cool, conducive, not meant as a region without passion, without "flame", without dynamic injection. Halftone cool colors are dominant on his works, but among a number of his canvas also marks a lot of many aspects that show the "fire" in the figure of life. And without verbally reflected on his natural mountains's painting, Sunandar Agus able to spread the spirit and transendental messages with the way and pictografic he had.
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