Sand Resonance

Sand Resonance




In addition to his world of painting, Winarto Kartupat also been active in the performing arts, music and dance.



He pursue some type of percussion instrument like a drum and gondang. Keterlibatanya in the field of performing arts, primarily in the field of modern ethnic-sounding music that is derived from various elements of traditional music, also opened wawasanya to identify further the living art tradition in the neighborhood of North Sumatra.



Painter's interest in part of his work is now exhibited regularly at the 'Sand Painting Gallery ", Oredos this field, the real art world has been there since childhood. This Samiran nurtured thanks to his father, known as a naturalist painter in Medan. Experience is very valuable and fundamental , according to pengakuanya when joined Bagong Kusudiardjo Padepokan art in Bantul - Yogyakarta at 80s.



During the four years involved in padepokan dancer, painter and leading kareografer that, not only technical knowledge and discipline of dance and music that gained. He had the opportunity to learn the technical basics of painting directly from Bagong.



These works can Winaro separated into two trends form. First, the tendency, describing forms of figurative forms of human figures, animals and plants. Here the forms are processed into deformatif-decorative tendencies, until the direction of realism. Second, an entirely kecendeungan display abstract form, particularly geometric shapes: triangles, rectangles, circles and rounded.



In the first form of the trend, easily seen intense efforts to explore Winarto forms of ornamentation, reliefs or sculptures that live in the middle of the tradition of art treasures in North Sumatra, especially the Batak. Appearances bentuh lizard (boraspati) symbolized as a creature keepers at home or against disaster, the painting Winarto present in various versions of interpretation.



One of his work explores the forms of the lizard. Among the formulation composition of a circular field, moving into the middle of an increasingly merged vortex. Work titled "Tsunami" (2004), this according to pengakuanya, is a form of interpretation of the power of God for the balance of macro and micro cosmis. While the work of "Four Winds Angle Eyes" (2006) and "The Shield" (2006). Gecko elements function more as an accent of unity among the various motives and form deformatif abstract sculpture tradition. The work explores the forms of realism such as the head of a horse, boat or statue of the temple, can be considered as an alternative form of figurative language of art to enrich expression Winarto forward.



The second tendency is marked abstract forms of processing can be seen in such works: "Ulos" (2009), "Island of Gold", "Festival of Sound" (2006) and "Calligraphy" (2009, "Etnica" etc.). Important features that stand out as well as play a role in the discovery of the aesthetic vision Winarto work here can be seen from several important aspects.



First, the appearance of structures form (formal structure), which gave him the freedom to explore areas in the domain of a flat two-dimensional space ("Island of Gold", "Calligraphy", "Four Winds Angle Eyes"). Second, the processing can be seen from the aspect of texture elements (from the utilization of various types, sizes and colors of sand) in various levels of density ("Angle Eyes Four Winds," "Tsunami"). The trend can be observed from the three areas that present the effects of space evocation terraces and berelief canvas ("ulos", "Sound Festival", "piece of Borobudur", etc.).



Media Sand



Unlike most artists, preferring to paint (oil, acrilik, tempera, aquarel) crayon, ink or pencil, as the media says is practical and easily obtainable. Winarto instead use sand materials collected from different places. Of course after going through the screening and sorting into different characters and colors are accurate, this new media could be used.



Various sizes of bottles and glasses filled with sand, filled his office in one corner of the room at Taman Medan Culture. Da recognize the right of the character, size and color of the sand used, complete with their origins. Sand obtained from Australia for example, have a tendency to brick red color. Qatar with an ivory white color, the Netherlands has a dark gray color of sand with fine texture like flour, brown Malacca (raw Umber) with little white spots. Obtained from the Jambi area between the yellow-colored sand - ocher with the texture and size is quite smooth. Unlike the coastal areas and sand from the beach which tend to be big and rough, resembling the form of salt with a little white color. From the lowland areas it gets dark brown sand and dark (burn Umber).



In contrast to the works of artists who use new materials. Mixed (mixed media) in the works, but in its final resolution, they generally continue to rely on modern paint or dye. Several years ago the writer had studied the works of painters in Jakarta Ali Alaydrus using sand media into abstract paintings. Sometimes suggestive symbolic, because it combines an abstract field with kris and wayang form. This painter did not take advantage of the natural texture and color of the sand, but menggabungkanya with glue and paint acrilik.



Work Winarto have the independence and uniqueness of a typical in shaping the visual image you want to: just rely on natural color of sand, in various kinds and sizes.



The only manufacturers that use materials other than canvas is an adhesive (glue), to detain and unify the composition of which he forms on the surface of the canvas. With the size of the canvas that many equilateral quadrilateral (square), sometimes imbued line or round-round semi-circle in the middle. He brings a solid impression on the massive and most of his work.



Nature of sand, especially in receiving the reflection of light that responds sensitively and teksur shades. In the musical aspect giliranya maximize the most abstract works Winarto. As the music reached a point keseibangan minimalist aesthetic via rhythmic and peralihanan-tempo transition, his work can sharpen sensitivity through simple forms of formulas. Impression of monotonous repetition of certain forms or motifs, in imbangi with measurable koposisi complexity. Areas Structuring a careful sand color, so the effective response to maximize light in color and vibration (resonance) texture of the sand.



The development of the sand painting Winarto forward, clearly offers a direction for exploration is still in the branching points of culmination is difficult to predict, because highly dependent krerativitas, imagination and power intuisiinya. Many use the same side of the rectangular size (square). Sometimes it was imbued in the middle of a round shape. In the form of an artist who has exhibited his work regularly in galleries .... These fields do seem more effective to structure a simple geometric forms.



In the middle of the development of contemporary painting is more open to new ideas, a phenomenon clearly Winarto sand paintings in a unique position. His work including rare and courageous in terms of the use of natural materials (sand) is. Independence without using a variety of modern media are more popular at least have the courage and reflects the totality of a work. Including the belief there mengadapi market issues that would certainly prefer a common type of media.



Poverty Forum



The phenomenon at work as evidenced by artists like Winarto really shows the activity and spirit to pursue a serious art in the city of Medan is still alive. One factor inhibiting such proper-recognized painter accused of this-the absence or scarcity of art forums that can be expected to stimulate and motivate creativity.



Bi another hemisphere, both countries have advanced and modern, as well as newly developed countries and is still caught between the hegemonic culture, natural resources and economic potential latent surrounding countries (regional). Singapore, art events, such as "bienale", "trienale", "Art Forum", "seminar", "festival" and so forth, have become common sights.



Penyelanggaraan arts forums, no longer seen as the fulfillment of sectoral needs, malainkan as part of the conduct of the cultural agenda of broad dimension. Some may see it in the perspective of creativity and cultural identity, some aspects of the sale value read from the frame of cultural tourism and global tourism. Much appreciate it more legitimate as a readiness to confront and cross-culturally accepted globally.