Academic Glass Painting

Haryadi Suadi glass painting shows the spirit of renewal. Although out of the grip of traditional art, he confessed fanatic on the tradition.
Exhibition of glass paintings Haryadi Suadi, 57, who lasted 6 to 30 September in the Gallery Lontar, Jakarta, inviting special attention of the visitors. This is caused mainly because of its uniqueness. One of the unique, for example, in doing work. The painter is able to carefully set the color, change shape, shading, and write upside down on top of the glass medium. In fact, as admitted Haryadi, to start the technical work, she did not need a sketch, but rather rely on intuition, faith, and drawing skills. In fact, just a little graffiti on the glass that swerve from the plan, all should be removed, and the work repeated from the beginning. The tradition of glass painting has indeed evolved in a long time in some areas, such as Cirebon, Solo, Yogyakarta, East Java, Madura, Lombok, Bali, West Sumatra and Aceh. Unfortunately, traditional painting is somewhat out of reach of the publication, so as we do not get a clear picture of diversity in every area, except for those who really studied this field. The characteristics of this painting, as well as showing other forms of distracted, rich by ornaments, bright coloration, also showed the ability of telling through pictures and this is very prominent. So, no wonder, then teme-theme is also closer to the mythology, good stories associated with a particular religion (such as burak pictures or stories of the Prophets) and the story of puppets (semar or god kala). That said, there is also a glass artist who takes the theme of everyday life, and doing various experiments, such as West Sumatra in Crebon Bianto Toto. Only in the development of his work, Toto using spray paint or pilox.

Haryadi as general painting works of glass, still show traces and influence of Arab culture (Islam), China (Taoism), and Hinduism (pewayangan story). The impression it was getting stronger, especially in view of the cosmos is divided into three parts, the nature of the ornament is marked with mega overcast, the sun, and air creatures; the middle nature are depicted with terrestrial living things, objects, as well as ornaments, and lower natural ornament represented wadasan or creatures in the soil. Starring this time featuring twenty-eight glass paintings made in 1983 and 1996, and specifically to describe new developments in his work. In this era, Haryadi doing a lot of stepping, which is characterized by exit from the grip of traditional glass painting in general. See, for example, his work Merali Mask, made in 1996. In the works of size 10×60 cms, which shows the combined areas of the picture are cut off human heads, masks, and puppets that, Haryadi incised hatching, as most people draw, to create the impression of the dimensions, obviously, is out of the tradition of glass painting anywhere, which is only present as a line ornament. Apparently, Haryadi not satisfied with just copying and boasts art of the past, without giving a new interpretation. In using the medium, also look special. For example, he does not use paint flying horse trademark, as always used the traditional glass painter, but wearing high-quality acrylic and paint.

Then, as an artist who also studied graphic art-on “23-rd Exhibition Tokyo’ Sozo Bijutsu-juuga using screen printing technique to block out areas of color that is wide enough, so the color looks flat. This reflects an awareness of the use of the medium, which became defining features of modern artists, as well as distinguish Haryadi work with traditional glass painting.

Haryadi academic experience on the bench (he is a lecturer in the Fine Arts Department ITB) and poured preformance glass painting, or vice versa his understanding of glass painting brought into the academic making positions Haryadi is very contradictory and unique. In his glass painting many consider the formal aspects, such as composition, preparation of the gradations of color, hit the grip of tradition, and give a new interpretation, which of course to modernize glass painting.

While on the contrary, he did not fully follow the formalistic nature, which became a principle in modern art, with reasons more fanatic in traditional art. The impression of contradiction that will be more pronounced when listening to his work, where we do not met a single one with a fully abstract works Haryadi. This may be a sign that not everyone is easily led to follow a certain understanding.