1. Experimentation and exploration are not Dartin Yudha never stopped
   an effort identity embodiment of a true artist
   by: M. Sulebar Soekarman *)
   He who worship God in purity fear, then he will drown in a sea of thought.
   Anyone who worship Him with purity sense of hope, then he will get lost in the desert who is deceiving.
   Anyone who worship Him with fear and hope, then he will dzikirnya straight path.
   WHIP HEART, Siyaathul Quluub, Dr. 'Aidh bin' Abdullah al-Qarni
   (Publisher: Ershad Baitus Greetings - IBS 2004, London) p.94 - 96:
   (1)
   Dartin Yudha I had known about thirty years ago when a student Painting Department at the Jakarta Arts Institute-LPKJ Ismail Marzuki, Jakarta. Incredible work ethic, especially when I'm sketching and painting, whether it's together or alone with his generation, in places where Nashar pack, pack OE (Oesman Effendi), Mr. Zaini, the supervisor sets the scene-painting workshop where the workshop was held weekly schedule has been determined, or in the art studio or in his dorm room. Recognize, observe and appreciate the environment around us or that is in ourselves emphasis has always been the supervisor at that time at the moment we are all working on a sketch or painting. At times the discussion of the work, he always carries a stack of paper that is distributed or lined up one after nearly filled the studio room floor or room of his boarding house (My comments: well, lest your works stack of paper you've made the 'mattress' place yes you sleep!), his argument is hard, relentless blurted distinctive laugh that punctuated we always remember as one of the main characteristics. At a time when many people, if he is not pleased, he chose to remain silent being a good listener. But when it's touched on attitudes and beliefs, it's hard to stop 'kicau' her. There seems to be a strength in him that it must be proven that the act of painting that was an option and will be attached to him at all times.
   A few years ago, he suddenly appeared so I at my home in Yogyakarta, told me that as long as he kept painting and the 'working' as a team member in a successful election Indramayu, Krawang. Prior to my house, he had visited the House Art House and several fellow painters in Yogyakarta. He also has visited fellow artists in Jakarta and Bandung. Like a martial arts champion who was 'down the mountain' after its flagship train martial arts, he tried to re-measure the extent to which the path to true senilukis already taken. Perjalanananya the core conclusion: he is more confident. Being a painter for Dartin Yudha had not negotiable. So I challenge, when you air solo exhibition, she with a distinctive laugh replied, waiting on the game! Well, just like a politician! Make promises, what really will be fulfilled?
   (2)
   What is the painting? Generally people say that work is senilukis visual expression, expression of intention eyes of an idea, the idea and the experience created by a painter with certain specific skills. What we refer to as "art" (art) in a general sense is no different from "kria" (craft), in the matter of ingredients or techniques, but will be radically different in purpose or intent of its creation. As with any work of kria, something called "fine arts" (fine art) is the use of a substance or material such as metal, stone, wood, bamboo, clay, pigment color, fabric, paper, etc.., Or (with an extension the concept of "material" itself iu) sound, light, words, motion, or other material, for the sake of constructing a desired object, namely a work of art, an object fruits of human intelligence. a work made for the purpose of achieving the last certain qualitative effects, which have expressive value.
   What would be expressed by the art that has been sought? Basically every piece of art reveals, more or less pure, less is more subtlety, instead of feelings and emotions that possessed the artist, but the feelings and emotions of the artist is unknown; the impression in his natural feelings, his description of the essential experiences, physically, emotionally and outstanding. Such knowledge can not simply be expressed in a common discourse. The reason for this indescribable something that is not because the ideas will be expressed is too high, too spiritual, or too anything else anymore, but that the form of feeling and form of expression that is not interconnected it is logically not aligned, so any definite concept of feelings and emotions can not be projected into the logical form in literal language. Oral statement, which has been the meaning of everyday communication is normal and trustworthy among us, almost becomes useless for conveying knowledge about the precise character and essence of every human experience gained from their respective lives. Normal designations such as "love", "compassion" "excitement", "sadness", "fear", "goals", etc., tell us little about the experience are more important than common words such as "objects", "to be or clicking-no", and "place" to tell us about our perception of the world at large.
   More appropriate reference related to general feeling created by mentioning the state of the environment or atmosphere memberikab suggestion, such as "mood one night in the rainy season", or "feeling a vacation with her boyfriend". Problems logic involved here is not a single person who can enter the luarpun; enough we stayed while others say "significant form", and another "something expressive", "plastic value" in the visual arts or "secondary meaning" in the poem, "creative design" or "interpretation" or what you want, is a force of certain qualitative effects of expressing beings great and the ins and outs of rare intricacy of life feeling.
   Most of this seems to be able to find direct expression in a form that can be heard and seen. Albert Barnes gives suggestion that our mental orientation in space, which gives the freedom and certainty in our perception of forces and a shaft of unconscious mental life, is what it means and raised purely on pure geometric design. Jean D'Udine, in his little book that explains the relationship of art with gestures, reminiscent of the direct expression of important feelings of all rhythmic form, whether it be musical or visual. These are the elements of simple expressive arts, as well as the names and statements are literal elements of expressive language simple.
   Human conception so quickly find a sufficient or symbol, grows like a fairy tale Jack the bean bean, and enlarged to reach the peak heights of what appears to be a form of expression that is enough. The better the symbolism, the more rapidly growing, to maintain the thoughts that must be served and is grown. This was clearly demonstrated by the language. A child with ten words as appreciation has certainly more than ten concepts in his command, because every word will be pushed immediately to the generalization, displacement of meaning, give suggestions on related ideas, opening the possibility of subtle variations and subtle shade that is created when is used. The same thing happened to artistic expression. Similarly, subtly evolving language, in the syntactic forms and idioms as well as vocabulary, so that the power of articulation through the form of growing sensitivity in accordance with the requirement of understanding the thought.
   Most people associated with the word "abstraction" just as technical words that provide notion of simplification processes that cause the least possible picture, even if it could not exist. But such words are always used as a storage area abstraction made long ago, which is now used as a common word, especially by intellectuals specialists who manipulate the word without feeling completely stunned by any new insights they convey . Understanding of the meanings that, in fact, not new. When it was new, these words are not used to that concept; talk big guys are used to express the deep sense scientifically beginning. A song, when it was first conceived as a scientific idea in comparison as a decisive presence, which flows in a one-dimensional flow of the existence of God the Creator .. The room was a mess and a ravine deep canyons once, abstraction from the rest of existence in the mystic symbols, before it grows quite common abstraction known as a name and all the arguments are defined by geometric geometry.
   How, and by whom, abstraction was first performed? This abstraction dilekukan by like-minded people 'in' and 'large' of any age, by the strong language of the user or other symbolism, they can force us to see more of the commonly accepted meaning of the symbols that have been recognized familiar . Abstraction language, which has charge of most of our normal thinking, awakened from a solid fundamental phenomenon, widespread, but less recognizable as the term metaphor.
   Of course, all the conceptual formulation involves some abstraction; even regular expressions like in this sentence: "Today yesterday, I was in Denpasar" involves a choice of several aspects related situations, and the link itself already mentioned. Millions of other people have been in Denpasar yesterday day as well; but where I differ with them indistinguishable from the activities, feelings, intentions and purposes, practically everything except for the fact that highly abstracted as I have mentioned. English abstract reality of choice various things and circumstances that gave rise to the names, such as the words "yesterday", "Denpasar" and "being" as well as the people and physical objects individually. Without us knowing introduction of the concepts of abstraction that was contained in the words of our own that we can not say: every experience should have a proper name that has a meaning that is not defined, a kind of subjective memory scheme.
   ARTS, like language, is an abstraction of certain aspects of the experience for our contemplation. But it is not abstractions such as concepts that have names. The talks were not able to determine the sustainable concepts better and more precise. Abstract artistic expression aspects of life feeling mepunyai names, which must be introduced to lift the sense and intuition of the more attached to the word, record the conscious attention.
   Shape and color, tone - the voltage and rhythm, contrast and softness, rest and movement, all of which are elements that produce a symbolic form that can convey ideas to the facts as unidentified. When we say that a work has a limited feeling about something, we do not mean that the work was giving marks for that feeling, like a cry gave signs of emotional disturbance for those who cry, and that the work that stimulates us to feel a certain way. What we mean is that it presents a work of a feeling for our contemplation.
   However, a clone, although visually comply with what is seen, is never going to be a coffee or a copy in a general sense. There is always a bias change, what is recorded is what is seen and perceived importance; if he was so preoccupied with his models, simplified or even a projected version of the model it is exactly like what he saw, and everything that he saw. Primitive art, which is not confounded by various theories, tend to be more pure simplified and more expressive than the works of more sophisticated; but the earliest writers of every branch of art naively convinced that what we call creation is a manifestation of a process of imitation that is obedient and very carefully.
   Impersonation of an object with the intention of doing a difference 'whole' that is important, difference is interpreted-what we refer to as treatment (treatment) of the object, and all treatment works serving the needs of the creation of abstractions that satisfy our senses and contain artistic value high. The model for the painting, sculpture, or epic which gives the theme of the work, but not the meaning; treatment of the theme is the articulation or pronunciation of a being that came from his own.
   All of the techniques developed for the treatment for it; and because the treatment is just the way (mode) impersonation, and an artist who is active and absorbed really would not be aware of the ways that he developed, almost all naive technician confirmed that the tools they use for this is solely originated from how impersonation. With such a long life line technique that is the result of imitation, and its origin is the formalization. Technique is the power to produce a version of the model, a concrete real-existence as a being that can be observed, an embodiment of various objects in the world. Her aim has always resulted in an effect (effect) satisfying emotional senses (sensuous), which was brought into perception.
   In the achievement of this effect is a function abstraction art. Effect sought for being able to convey something in it to human feelings, I think, that's the purpose of all art. That's why the technique is a skill to get the effects, and in any art we develop the traditional meanings of "impersonation" to enhance the effects of certain artists that observed in the model and convey to them that can be felt through the arts. Traditional meanings like that is what we refer to as "the Convention". This convention is not a "law" or rigid rules, therefore there is no reason in the world to follow suit unless the artist can use it for the needs of its goal. When the need or usefulness is no longer desired, the convention was thrown away. That is why the convention changed.
   Conventions obvious imitation is a kind of equipment such as local color, darkening to the shadows, the trees are gracefully curved and straight hair to mark desirnya winds, and unstable posture gestures to give suggestions. This last point can be used for sculpting, although the statue is very sensitive to practices such as painting the statue impersonation or even mixing of various different materials for realistic effects.
   Almost every previous techniques that felt the first time as the discovery of a better impersonation, and then recognized as a new form, a convention stilistis. And more and more conditioned by the presentation style of the artist conceptions, the effects they want more than the scientific content of each style, the more ready force that can be accepted as a "truth" of a process of imagination.
   Extreme type of treatment which is designed to more accurately described as a transformation (transformation) of the as impersonation, treatment changes at a desired appearance without real representation of it, producing a similar impression of feeling rather than something purely literal, in relation to something finite, valid material that can not naively copy the desired model properties.
   To change a sound effect without apparent imitation thereof; to convey a sense of movement with dynamic lines, without describing the attitudes or events that remind him; to convey a dramatic situation with silence-silence timely engrossing than the statement; Such treatment requires a transformation of ideas furnished by the model (which became a model could be an object, an event, or a character), a plastic material in which the work was created. To get the effect of space through the medium of sound, or a feeling of pure bright light dazzling pomp-through color or shape, without using a beam cahayapun-that's what I mean by the process of transforming the appearance of the model into a structure that is associated with feelings or the like.
   As an example can be found in all areas of the arts. The above examples I just mentioned - the submission of the effect of light through a medium that can not directly copy the light - I quote from Ching Hao, a Chinese theorist of the tenth century: "Mastery ink can increase or decrease his tone at will, to express the depth or shallowness of the objects (Things), creating what looks like a natural sheen, which is not derived from the work of the sweep line and remember that light and darkness itself expresses the depth and shallowness of bednda-objects (Things) "and before that, about" harmony ", he said:" Harmony, without contours can be seen, give suggestions will form; ignore no nothing, but to break away from roughness. To submit a form with tools other than the contour or boundary lines, in connection with the use of ink , is an achievement of a subtle effect that I refer to as "transformation" (transformation).
   (3)
   In this solo exhibition featuring artists Dartin Yudha his latest works with various kinds of multi-media techniques that exploit almost entirely in the inner experience 'intercourse' with the object or subject-matter of various types of currency that has become familiar since young too. Currency not only as an extension of his hand to communicate with other people, the wider community, but also dimaknainya as a 'diary' to listen to the events, memories, adventures into the past and many more things that personally as strong and delicious as well as he plays color , lines and other aesthetic elements on the surface of the canvas or paper as an effort to create a work of art.
   Mission creation of art that leads from the 'inside' yourself an artist is to understand how the artist's 'sense of life' it is most essential. This understanding is not a simple process, it generally takes an act of abstraction. Simplification of action followed by reflection and interpretation as well as efforts in reasoning or 'catching' the essence in subyektip. But all require an understanding of abstraction. Abstraction is the literal discourse sometimes provide insight vain to subject these ideas, they are obscure and falsify than communicate our idea of vitality and feeling. But there is no understanding without a symbol, and there is no symbolization without abstraction. Everything about reality, which will be expressed and delivered, it must be abstracted from reality. There is no reason in an attempt to convey the fact that pure and simple. Even the experience itself can not do that.
   For Dartin Yudha, the process of abstraction is performed against its objects filled with depth and intelligence. Think and if it feels as if set forth in a symphony with the manifold vibrating song of each work presented form various shapes of paper currency or currencies rectangular metal circle impresinya fishing in pure geometric abstraction, a reflection that may not be realized as an expression the rhythm of his inner life. While simplification / stylized female figure forms in whole or in various models have to face as the essence of the body and provide a symbol of the power line, and sometimes sensual softness. The treatment of objects that have returned him to create expressive art sederahana, as well interpret or symbol of mind, taste and essence of life itself.
   Production of such expressive structure that presents a sense of contemplation we need more conceptions that are all 'benda''s (tangible) than the idea that is still not clear, what is meant to guide the artist. There is nothing so difficult to understand such a conception that does not have symbols. Was throbbing and vanish disappear as the stars are dimmed, and inspire rather than as an expression of the obvious. Thus anchors are usually anchored to intuitions as it is an object in which artists see possibilities for a form that can he developed and created with a push / impulse mimic natural beings they found expressive
   To get the effect of space through the medium of sound, or a feeling of pure bright light dazzling pomp-through color or shape, without using a beam cahayapun-that's what I mean by the process of transforming the appearance of the model into a structure that is associated with feelings or the like. Yudha Dartin works has led him into the realm dimensional transformation! The next step is to live life in the sense of the behavior of reflection about the nature of life itself as well as the expansion of global discourse that will strengthen the consciousness of himself as a true artist Indonesia that has no stop to make sense though, if thought / intention and of course if the copyright.
   Yogyakarta, 28 April 2014
   *) Abstract Painter, now settled in Yogyakarta