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This is Yunizar

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By Gwylym Owen

Yunizar (born June 1971) is an Indonesian artist. He was born in Talawi, West Sumatra, Indonesia. He graduated in 1999 next a degree in Fine Arts from Indonesian Institute of the Arts, Yogyakarta (ISI), a scholastic of national arrogance and the heart of cutting edge art-making in Indonesia. Creativity and correct are the forefront of the school’s agenda and this is evident in Yunizar’s put on an act ethic. Yunizar’s training reveals itself in his innovative expressive style, articulated through a playful composition and subtle palette. Executed primarily in acrylic and pencil, his works stand out in terms of texture, colour, brushwork and rhythm. A restrained palette of cool colours- yellows, browns and greens- is with intent dirtied and smudged in his dynamic and reworking of the canvas. The upshot is a severely tactile comport yourself that entices the viewer to setting the piece.

Born a Minang, Yunizar felt at home at Yogyakarta and granted to remain in the city once his wife and children after graduation. There, he co-founded the Jendela Art Group, Jendela which means window in Bahasa Indonesian, together taking into account his Minang peers namely Handiwirman Saputra, Jumaldi Alfi, Yusra Martunus and Rudi Mantofani. Jendela Art Group is Indonesia’s most prominent contemporary art comprehensive and has participated in numerous help and solo exhibitions in Indonesia, Hong Kong and Singapore. In 1995, he was awarded “Best Painting” from the Peksiminas lll Exhibition in Jakarta and in 1998, he was awarded “Top 10” from the very prestigious Phillip Morris ASEAN Art Award V.

Yunizar’s subjects are often near to his heart and run of the mill life, simple and recognizable. Yet beneath this simplicity lies a deeper theme. To a casual observer, his titles for his works may appear uninspired. But on delving deeper, one will find that they often provide a savor of vagueness to his portraits whilst tally an element of cynicism. He is a painter whose works may be described by an attempt to assist his preoccupation for still-life. Bottles, potted-cactus, apples and new elements are painted singly, and unconventional reproduced in simplified outlines, eventually multiplying exponentially as minuscule elements upon a huge canvas, as crammed two-dimensional landscapes choking on its own reproductive capacity. At new times he obliterates this multiplicity, displacing it following a single figure, or a head, unsmiling, disfigured and consumed by a desirability of hostility or exile. In a distinctive series Coretan (Marks), lines and markings are deployed as troubled utterance. Obfuscating and never declaring any form of intent. However, the wisdom of narrative is kept remaining in the fringes of the frame, is eternally held in worried tension. One of Indonesia’s most functioning new artists, Yunizar draws from a rich heritage to Make images that evoke memories of dreams and myths as skillfully as the mundane.

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