![]() I maintain discipline to make constant progress,” said Srihadi, who exercises with his trainer at home twice a week.Cyber-Physical Systems (CPSs) often operate in a critical context where it is crucial that they behave as intended. How can Srihadi be so productive in his creative process? “I lead a regular life. In 2016 he presented 300 drawings and water color paintings produced over his 70-year career. Srihadi’s previous retrospective solo displays were in 20. The solo exhibition will also see the launch of Srihadi Soedarsono: Manusia dan Alam Semesta (Srihadi Soedarsono: Man and the Universe), written by cultural observer Jean Couteau. There’s an offer to pause to look ahead, which is a cultural moment,” said Rikrik, adding that the maestro had had a long career since the war of independence. Despite Srihadi’s dominant mountain, land and sea images, he never forgets the presence of humans and their cultures. The painter encourages contemplation about human existence and its relation with nature. “Behind the subtle aesthetic series, something is worth observing and exploring in each of the works as well as the whole batch as an interrelated configuration,” Rikrik suggested. Srihadi’s latest landscape paintings are also very interesting and challenging to study. Though not so explicit, the issue of Papua is composed through his Golden River Belongs to Its People, which is very close to Papua becoming a political commodity,” said the fine art lecturer at the Bandung Institute of Technology (ITB). “Srihadi’s creations offer metaphors and symbols of complexity. He added that from 2016 to 2020, Indonesia had entered different sociopolitical contexts of greater intensity involving issues of identity, welfare and religion. Rikrik Kusmara said this time Srihadi would like to convey several messages. The point is to enhance, so I’m moving from rice fields to mountains,” he added.Įxhibition curator A. “Every color can represent a certain atmosphere. Technically, as the oil paint hasn’t dried yet, the husband of Siti Farida Nawawi tries to get new hues. ![]() Srihadi releases his emotions through the colors he paints while moving from one canvas to another in his studio to match his prevalent feelings. ![]() ‘Horizon – The Golden Harvest’ (2018) by Srihadi Soedarsono. Srihadi showed his works themed Borobudur Temple and Volcanoes, with such energy emanating from them. They symbolize a spiritual dialogue between artistic ideas and the energy he feels while painting. The lines brushed on the canvas along with their colors, according to Srihadi, result from sensitized feelings. It’s part of a culture, so it isn’t just an expression,” he said. “A landscape isn’t a mere ‘mooi indie’ to attract tourists. ![]() There are no details of the people and paddy being harvested, but his impressions are reflected. One of them is Horizon – The Golden Harvest, depicting Hindus maintaining their paddy fields through an irrigation system called subak without ignoring their daily religious rituals. The recipient of the Bintang Gerilya RI (Indonesian Guerrilla Star) also interprets the existence of humans, cultures and the universe in his creations. ![]() “The rivers look golden from the sky when flying in the morning and afternoon,” noted Srihadi. Srihadi marks the horizon as an important element to present the natural boundary with sunrise and sunset in his Papua – The Energy of Golden Rivers, measuring 105 by 600 centimeters. The same process has been applied to his other art in the show, such as Papua – The Golden River Belongs to its People, a work that he finished in 2017 as a contemplation of an event in 1970, when he was flown in a helicopter over Sorong, Papua, to work on a job for state oil company PT Pertamina. “Painting is like recording,” said the painter, who was a member of the Young Indonesian Artists under S. Srihadi relies on observations and imagination in creating his work. On top of the canvas is a maroon annular solar eclipse. “The Jakarta floods were a big event,” he said. ![]()
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