Nenek dan Cucu (Grandmother and Grandchild), ca. 1960s

Oil on canvas
64 x 94 cm
Collection of Galeri Nasional Indonesia


The painting, Grandmother and Grandchild, sticks out in the works of Fajar Sidik. Although being known for his work as a pioneer of Indonesian abstract painting in the 1960s, this work contains various figurative elements. At the start of his career, Fajar worked under the guidance of Hendra Gunawan and members of the Pelukis Rakyat (Peoples’ Painting School). Most of his paintings consist of geometric shapes with contrasting colours. If looked at more closely, the geometric shapes are abstractions of Arabic letters. One of the elements which frequently appears throughout his works are circles with contrasting colours, like the yellow circle in this painting. This shape reminds us of the dot which functions to differentiate the letters in reading Arabic writing. These artistic statements lead us to wonder why Fajar Sidik has never been involved in discussions of Islamic art in Indonesia.

 

About the Artist

Fajar Sidik explored forms on canvas. His paintings were a combination of simple geometric forms which were arranged in such a way to create a unique impression. Sometimes they would appear machine-like, at others they appeared as natural objects, while at other times they looked other-worldly. He developed his skills as a painter through the Sanggar Pelukis Rakyat (Folk Painting School) after which he continued more formally at ASRI in Yogyakarta. He graduated in 1954 and returned in 1961 to teach. Fajar was the Head of Painting there between 1967-1983.


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