a solo exhibition by ay tjoe...

A SOLO EXHIBITION BY AY TJOE CHRISTINE

SYMMETRICAL SANCTUARY

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In this exhibition, Christine presents a twenty-meter-long canvas. The work

represents a series of fragments of Christine’s life in the stage that she calls

a ‘symmetrical sanctuary.’ It is difficult for us to estimate when the stage of

‘symmetrical sanctuary’ actually began in her life. We do not know the time span

of the flashback moments that the artist presents here: does it include the latest

year in her life, two years, or ten years? Did it begin with a certain significant

event? Or perhaps since she started knowing someone? We can never know—

only Christine understands the true meaning of the narrative. The rest of us can

merely guess and try to reconstruct the meanings based on our understanding

about her.

In this exhibition Christine does not present any certain theme. The work itself,

as the artist has admitted, constitutes her personal notes, reflecting her latest

stage of life. Of course, the events and experience noted there are those that she

finds significant, although she does not explain whether the experience had been

fun, happy, or, in the contrary, sad and depressing—or the mixture of sad and

happy. Christine’s works constitutes a self-history of sorts—or self “herstory”

to be exact.

SYMMETRICAL SANCTUARYA SO

LO EXH

IBITION

BY AY TJOE CH

RISTIN

E

Supported by:

AY TJOE CHRISTINE’S SOLO EXHIBITION


A SIGIarts Book

This catalog was published as a supplement to SIGIarts Gallery’s exhibition of


SIGIarts Gallery

January 15th – February 1st, 2010

Curator

Asmudjo Jono Irianto

Published and distributed by SIGIarts

SIGIarts Gallery

Jl. Mahakam 1, no. 11 Jakarta

Tel: +62.21 726 0949 Fax:+62.21 726 1017

www.sigiarts.com

Copyright © SIGIarts

All rights reserved. No part of this catalogue may be reproduce, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder.

Graphic Design: Pamuji Slamet

Translator: Rani Ambyo

Printing: Jaya Murni Printing

Edition: 1000 copies

This event is conducted by Supported by:

Contents v

Symmetrical Sanctuary 1

The Artwork 11

Symmetrical Sanctuary 37

The Artist’s Profile44

CONTENTS

“There is no way out from seeing art as a reflection or meditation or

comment on life.” – Donald Kuspit

Ay Tjoe Christine adalah sosok spesial dalam medan seni rupa

Indonesia. Sulit menempatkan Christine pada salah satu arus dalam

peta seni rupa kontemporer Indonesia. Karena itu, Christine tampak

mencolok, menjadi sosok yang berbeda. Dia tak banyak bicara,

serius dan intens menghasilkan karya. Barangkali bukan hal istimewa

jika dikatakan bahwa karya-karya Christine selama ini merupakan

eksternalisasi dari apa yang dipikirkan, dirasakan, dan digundahkannya.

Bukankah itu hal umum kalau kita bicara mengenai karya seni sebagai

ekspresi personal seniman? Namun, jika dikatakan bahwa proses

berkarya itu sendiri bagi Christine merupakan laku dengan totalitas

dan intensitas yang melebihi perkara “menghasilkan” karya seni, bisa

jadi hal itu menjadi persoalan menarik.

Berkarya adalah katarsis bagi Christine. Tentu saja hal itu pun bukan

perkara baru, namun belakangan ini pada saat kebanyakan pelukis

berkarya dengan perencanaan visual yang pasti, maka pendekatan

berkarya Christine yang intuitif, direct, dan total menjadi terasa

berbeda. Tak dapat dipungkiri, saat ini seni rupa kontemporer

didominasi karya-karya yang merepresentasikan budaya populer dan

budaya visual. Itu sebabnya karya-karya seni rupa kontemporer pun

kerap mengapropriasi realita visual yang menyerbu kita sehari-hari. Tak

mengherankan jika karya-karya realis yang berbasis foto dan karya-

karya dengan tampilan ala budaya pop macam komik, street art, obyek

fetish, dan lain-lain menjadi dominan. Ada kesan seni rupa kontemporer

menjadi bagian dari spektakel budaya visual, yang dengan suka-cita ikut

merayakan pesona dan godaan budaya populer. Karya-karya Christine

menyebal dari kecenderungan dominan tersebut. Bagi Christine

berkesenian lebih berkaitan dengan dirinya sendiri, dunia dalamnya,

dan pengalaman personalnya yang intim dan tersembunyi. Berkarya,

terutama menjadi jalan bagi Christine untuk memahami dirinya sendiri.

Jika dikatakan Christine berkarya secara intuitif, tentu saja bukan

berarti dia tak memiliki gagasan, tema, dan rencana. Tetapi dia tak

pernah menetapkan secara akurat sejak awal bangunan visual karya-

karyanya. Kendati intuitif dan mengalir dalam menyusun aspek visual

1Asmudjo Jono Irianto

Symmetrical Sanctuary: Hidden Anthology

The making of the structure for Ay Tjoe Christine’s artwork.

karya-karyanya, Christine selalu memiliki suatu tema atau gagasan

yang menjadi pegangannya. Artinya, aspek konten (persoalan yang

direpresentasikan) dan ekspresi (spontanitas, karakter, dan kualitas

artistik) menjadi bagian yang sama penting. Kecenderungan Christine

mengingatkan kita pada para seniman Romantik dua abad lalu di

Eropa. Seperti mereka, Christine mementingkan imajinasi, emosi, dan

kebebasan yang ditunjukkan oleh kekuatan subyektif dan individualis.

Para seniman Romantik mementingkan spontanitas dan cara hidup

soliter yang terbebas dari aturan sosial. Tentu saja, Christine tak

sepenuhnya berkarya dan bersikap ala seniman Romantik, namun bagi

saya sikap berkesenian dan keseharian Christine sangat dekat dengan

citra seniman Romantik. Setidaknya, itulah sebabnya Christine tampak

berbeda dan eksis.

Dengan cara berpikir dan bersikap ala seniman Romantik, memang

Christine cenderung memilih, memandang, dan menyikapi “persoalan”

secara berbeda dan unik dibandingkan kebanyakan seniman

kontemporer. Hal itu ditunjukkan oleh tema karya-karyanya selama

ini. Contoh yang menonjol dan menarik misalnya ditunjukkan

dalam pameran tunggalnya “Silent Supper”, yang mempersoalkan

dilema “makan”. Demikian pula pada pameran tunggalnya tahun lalu

“Interioritas Harapan”, yang menampilkan tema yang sangat religius,

namun didekati dengan sudut pandang yang abu-abu.

Seperti umumnya seniman yang introvert, karya-karya Christine

cenderung esoteris. Kalaupun ada persoalan di luar dirinya, maka itu

selalu berkaitan dengan pengalaman dan cara pandangnya. Karena itu,

Christine jarang bicara perkara narasi sosial-politik yang stereotipikal.

Walaupun kita yakin bahwa perkara identitas, sosial, dan yang

semacamnya pun termaktub dalam karya Christine, hal-hal itu tidak

dinarasikan dengan stand point sang seniman sebagai pahlawan yang

menyuarakan kebenaran. Karenanya karya-karya Christine bukanlah

jawaban, bukan solusi, namun kerap adalah pertanyaan, tentunya kadang

juga bisa menjelma menjadi pernyataan.

Latar belakangnya sebagai seniman yang lulus dari studio seni grafis

memainkan peranan penting dalam membentuk karakter dan gaya

karya-karya Christine sampai hari ini. Christine kerap mengungkapkan

2

bahwa sejak mahasiswa dia sangat akrab bergaul dengan jarum dry

point untuk menghasilkan torehan-torehan di atas plat tembaga untuk

menghasilkan karya etsa. Pengalaman tersebut mengasah kepekaan

Christine terhadap karakter garis, kualitas kertas, dan tinta. Tak

mengherankan jika Christine selalu menghendaki kualitas kertas dan

tinta yang baik sesuai dengan standardnya. Dia mengeluhkan bahwa

ada tinta hitam buatan Amerika yang tak lagi bisa didapatnya karena

pabriknya tutup. Demikian juga dia menyesali kehilangan seperangkat

jarum dry point, yang menurutnya telah terbentuk dan sehati dengannya

karena telah dipergunakan bertahun-tahun—dan baginya tak bisa

diganti oleh jarum baru. Christine merasa bahwa dengan jarum

dry point dan cat hitam yang tak lagi diproduksi tersebut, dia dapat

menghasilkan garis dan nuansa warna hitam yang kaya dan peka

merefleksikan gestur tangannya dalam menorehkan garis.

Karya-karya Christine memang kentara menunjukkan jejak seni grafis.

Selain tampilan garis yang kerap dominan, tekniknya menerapkan cat

akrilik menggunakan pisau palet—bahkan pada nuansa warna akuarel—

pada permukaan kanvas diilhami oleh pengalamannya menyapu tinta

dari permukaan plat tembaga pada teknik etsa. Kekuatan garis pada

karya-karya Christine mau tidak mau membersitkan atmosfer gambar.

Pada kenyataannya, karya-karya lukis Christine kuat dengan nuansa

gambar dan karya grafis.

Dalam pameran tunggalnya yang kedelapan ini, Christine menghadirkan

tema dan judul “Symmetrical Sanctuary”, yang saya lengkapi dengan

anak judul: “Hidden Anthology”. Berbeda dengan pameran-pameran

sebelumnya, pada pameran ini Christine bicara mengenai persoalan

yang lebih pribadi, yaitu perjalanan hidupnya dalam fase yang terkini.


Barangkali Christine introvert, namun melalui laku seninya dia menjadi

ekstrovert dan sangat ekspresif. Karena karyanya adalah refleksi dari

pengalaman hidup sang seniman, di dalamnya akan terhimpun segenap

ekspresi harapan, kekecewaan, kegembiraan, pun kemarahan. Garis-

garis Christine adalah vibrasi gejolak jiwanya, karena itu kadang lembut

dan tenang, kerap pula tampak tegas.

3

Dalam pameran ini, Christine menampilkan kanvas sepanjang dua

puluh meter. Karya tersebut merepresentasikan rangkaian cuplikan

atau fragmen perjalanan hidup Christine dalam babak yang disebutnya

Symmetrical Sanctuary. Sulit bagi kita untuk dapat menduga sejak

kapan fase Symmetrical Sanctuary ini berlaku dalam perjalanan hidup

Christine. Artinya kita tak pernah tahu rentang waktu flashback yang

direfleksikan sang seniman: satu tahun ke belakang, dua tahun, atau

sepuluh tahun? Sejak dia mengalami satu peristiwa penting? Atau sejak

dia mengenal seseorang? Kita tak pernah tahu, hanya Christine seorang

yang faham makna narasi tersebut. Kita hanya bisa menduga-duga

dan mencoba merekonstruksi makna berdasarkan pemahaman kita

mengenai Christine.

Dibandingkan pameran-pameran tunggal sebelumnya, bisa dikatakan

tidak ada tema khusus yang diusung Christine dalam pameran

“Symmetrical Sanctuary” ini. Karya ini, sebagaimana diutarakan

oleh sang seniman, merupakan catatan personal yang merefleksikan

perjalanan hidupnya yang paling kini. Tentu saja pengalaman yang dicatat

adalah pengalaman yang menurut sang seniman penting, kendati dia

tak menjelaskan apakah pengalaman tersebut adalah pengalaman

menyenangkan, membahagiakan, atau sebaliknya getir dan menyedihkan,

atau campuran keduanya. Karya Christine adalah semacam self

history—atau tepatnya self “herstory”—sang seniman. Lukisan sepanjang

dua puluh meter tersebut ditempelkan pada dinding menggunakan

tablet magnet. Saya menduga keberadaan magnet tersebut pun

memiliki makna.

Christine berharap karya Symmetrical Sanctuary bisa dimaknai dan

diapresiasi secara bebas oleh pemirsa. Itulah salah satu intensi yang

terkandung dalam karya Symmetrical Sanctuary, di mana pemirsa

juga memiliki privilese untuk mengapresiasi dan menetapkan makna

karya Christine sesuai kehendaknya, sesuai dengan pengalaman dan

persepsinya. Menurut Christine tak penting bahwa pemirsa faham

mengenai “cerita” sesungguhnya di balik lukisan sepanjang dua puluh

meter tersebut. Toh, pemirsa tak mengalami apa yang dialami Christine.

Artinya, mereka tak mungkin sepenuhnya memahami dan merasakan

“persoalan” yang disampaikan Christine kendati isi ceritanya

disampaikan.

4

5Judul Symmetrical Sanctuary seperti mengindikasikan “perlindungan”

pada pemirsa untuk menyikapi karya Christine sesuai dengan

kebutuhan masing-masing. Bagaimanapun, Christine mengungkapkan

“perasaannya” melalui bahasa kesenian, artinya yang kemudian sampai

ke hadapan pemirsa adalah sebuah ekspresi artistik. Tentu saja sebagai

karya seni, karya Symmetrical Sanctuary tak lepas dari karakter dan

identitas karya Christine selama ini. Sebagaimana telah diutarakan,

Christine memiliki kecenderungan dan gaya yang khas, yang tidak

dimiliki oleh seniman lainnya. Dan tentu saja Christine bergerak

dalam kemungkinan gaya perupaannya selama ini, yang telah menjadi

ciri khasnya. Dengan kata lain, pemirsa pun bisa menyikapi karya lukis

Christine sepanjang 20 meter tersebut semata-mata sebagai sebuah

obyek estetik.

Bentuk-bentuk dalam karya Christine, terutama figur, kerap tampil

dengan berbagai kemungkinan yang karakternya disusun dari garis.

Kadang tampil seadanya, hanya sebagai kesan, namun kerap pula

disusun dari garis yang kompleks. Kadang garis-garisnya mengalir

luwes, namun kerap pula kaku dan tegas. Sedangkan warna cenderung

berkesan akuarel dan ringan, tetapi dalam beberapa lukisannya, seperti

dalam seri Barabas, tampak warna-warna yang opaque. Garis dan warna

memiliki peranannya masing-masing, tak pernah ada kesan ilusif dalam

karya-karya Christine, tidak ada kepejalan. (Jika dia butuh kepejalan

dia berkarya dengan boneka-bonekanya.) Namun demikian, karya-

karya Christine selalu tampak ekspresif dan cenderung tampil keras.

Bahkan ketika menggunakan warna-warna akuarel yang transparan pun

karya-karya Christine tampak keras. Agaknya pengalaman menorehkan

dan menaklukkan permukaan tembaga yang keras dengan jarum dry

point menjadi pengalaman yang berharga dan mengena bagi Christine.

Barangkali itu sebabnya Christine sempat mengutarakan bahwa dia

merasa paling cocok dengan teknik grafis, khususnya engraving dan etsa.

Kualitas artistik yang khas dan makna multiinterpretasi dari karya

Christine membuka peluang bagi pemirsa untuk turut serta menjadi

bagian dalam pesiar estetik di hadapan karya Christine. Bukankah

setiap dari kita selalu memiliki kenangan penting—baik menyenangkan

maupun tidak? Pengalaman tersebut yang menggembleng dan

menjadikan kita lebih memahami diri dan dunia sekitar. Karenanya

6 pengalaman estetik dalam seni rupa modern dan kontemporer bukan

sekadar pengalaman perseptual berhadapan dengan keindahan, tetapi

juga dengan pengalaman yang otentik, sublim, bahkan yang mengganggu.

Bisa diduga, bagi Christine sendiri karya Symmetrical Sanctuary

mengungkapkan harapannya mengenai suatu kondisi ideal, kondisi yang

setimbang secara total: sebuah simetri. Tentu saja, dalam pergaulan

manusia, sulit melihat relasi yang sepenuhnya setimbang. Justru karena

itu, kondisi simetris dalam hubungan antara manusia hanya bisa

diangankan dan diungkapkan melalui karya seni. Kondisi setimbang yang

ideal agaknya memang hanya bisa diniatkan tapi sulit diterapkan dalam

kehidupan nyata, itulah sebabnya kesimetrisan agaknya hanya bisa

terjadi di tempat yang terpisah dari kehidupan dan kumpulan manusia,

hanya bisa terjadi dalam kuil atau “tempat perlindungan”.

Begitupun Christine agaknya berketetapan menerapkan kondisi

ideal tersebut dalam proses apresiasi dan pengoleksian karyanya.

Bagi Christine sikap menerima dan mempertimbangkan posisi pihak

lain adalah salah satu tanda menuju kesetimbangan. Bagaimanapun

Christine sadar bahwa kehidupan di dunia tak mungkin mencapai

kesetimbangan ideal; itu hanyalah utopia belaka. Dalam kaitan ini,

pameran “Symmetrical Sanctuary” juga menandai pemikiran dan

sikap yang baru dari sang seniman. Setelah sempat cukup tertekan

diburu oleh “pasar”, saat ini Christine lebih easy going menyikapi

“pasar”. Namun di sisi lain, dia menuntut sebaliknya dari pemirsa yang

hendak memiliki karyanya. Mereka pun harus mau mengendalikan

egonya. Christine berharap mereka dapat berembuk dan mencari

“kesetimbangan” bersama dalam menetapkan bagian-bagian karyanya

yang akan dikoleksi. Di akhir pameran, karya dua puluh meter tersebut

akan dipotong-potong sesuai bagian-bagian yang telah disepakati oleh

para kolektor—yang bersedia ikut berembuk.

Segala sesuatunya tampaknya disiapkan Christine sebagai bangunan

makna. Struktur luar ruang yang tampak kokoh melindungi lukisan

yang fragile, seperti menyimbolkan wadak luar, yang kaku dan keras,

namun di dalamnya luwes dan rapuh. Ajakan bagi pemirsa untuk

masuk ruang sanctuary, sepertinya menjadi ajakan untuk berbagi, untuk

saling memahami dan melepas ego. Kesediaan sang seniman untuk

7“memotong-motong” karyanya juga menandai upaya sang seniman

untuk menekan egonya, sekaligus menjadi katarsis sang seniman dalam

melepaskan beban masa lalu. Hal itu juga menandai sikap sang seniman

yang lebih mature dan optimistis menghadapi masa yang akan datang.

SYMMETRICAL SANCTUARY20092000 cm x 70 cmCharcoal and acrylic on canvas

(All pieces shown in current and next several pages are originally drawn in one canvas.)

35“There is no way out from seeing art as a reflection or meditation or

comment on life.” – Donald Kuspit

Ay Tjoe Christine is a special figure in the Indonesian art world. It is

difficult to situate Christine in one of the streams that we see in the

contemporary art map of Indonesia. That is why she stands out and

exists as a distinct figure. She does not speak much, and is serious and

intense in creating her works. Perhaps there is nothing special in saying

that Christine’s works so far serve as the manifestation of what she

thinks, feels, and is worried about. Is that not common if we are talking

about art works as the personal expression of the artist? However,

when we say that for Christine the creative process itself serves as an

act that she undertakes with a high level of totality and intensity and is

more important than the “production” of the art work itself, then this

might be an interesting issue.

To Christine, an act of creation serves constitutes a catharsis.

Naturally, this is nothing new, either. Today, however, at the time when

most painters work with clear visual planning stages, Christine’s

intuitive, direct, and total approach feels distinct. It is undeniable that

the contemporary art today is dominated by works that represent

the popular and visual culture. That is why contemporary art works

often appropriate the visual realities that have been inundating us

every day. It is understandable, therefore, how realist works based on

photographs as well as works in the style of the pop culture elements

such as comics, street art, and fetish objects become dominant. There

is the impression that the contemporary art has become one of the

visual culture spectacles, which happily celebrate the charms and the

allure of the popular culture. Christine’s works, however, deviate from

this dominant tendency. To Christine, the matter of creating works of

art has to do with her being, her inner self, her intimate and hidden

personal experiences. Creating works of art becomes a way for

Christine to understand herself.

If one says that Christine works intuitively, naturally this does not

mean that she does not have any ideas, themes, or plans. It is true,

however, that she never accurately determines in the beginning the

visual structure of any of her works. Although she acts intuitively and

Asmudjo Jono Irianto


36 goes with the flow as she arranges the visual aspects of her works,

Christine always has a certain theme or idea that she uses to find

her bearing. This means that the aspect of content (the issue that she

represents) and her expressions (spontaneity and artistic character

and quality) are equally important. Christine’s tendency reminds

us of the Romantic artists who resided and worked in Europe two

centuries ago. Like these artists, Christine lays a great emphasis on

imaginations, emotions, and freedom as shown by the individualist

and subjective forces. The Romantic artists stressed on spontaneity

and solitary lifestyle free from social norms. Naturally, Christine does

not fully works and acts like the Romantic artists did; to me, however,

Christine’s attitude toward art and how she lives reminded me very

much of the images that we have about the Romantic artists. At least,

this is the reason why Christine appears distinct and strong.

With thoughts and attitude resembling those of the Romantic artists,

Christine tends to choose, view, and respond to issues in a unique way,

different from most contemporary artists. This is evident in her choice

of themes so far. An interesting and prominent example could be

found in her previous solo exhibition “Silent Supper”, which dealt with

the issue of “eating”. The same is also true for her solo exhibition last

year, “Interioritas Harapan” (The Interiority of Hope), which presented

a deeply religious hope but with an ambiguous point of view.

As common for introverted artists, Christine’s works tend to be

rather esoteric in nature. When there are issues that are external to

her being, those are invariably related to her experience and point of

view. Christine, therefore, rarely talks about stereotypical narratives of

the social and political issues. Although we can be certain that matters

of identity, social issues, and the kind are also included in Christine’s

works, she does not convey those issues with the stand point of an

artist that speaks out the truth. Christine’s works provide thus neither

answers nor solutions, but are often questions, that sometimes also

become subtle statements.

Her background of an artist educated in the arts of printmaking plays

a significant role in shaping the character and style of her works so

far. Christine often says that since her student days she has been

37familiar with the dry point needles to produce incisions on copper

plates as she creates her etching works. This experience shapes her

sensitivity toward line characters and the quality of the paper and ink.

It is understandable, therefore, how Christine always demands good

quality paper and ink, ones that can meet her criteria. She complains

how she can no longer find a certain black ink produced in the United

States as the factory has been closed down. She also regrets losing a

set of dry point needles, which she says has been shaped according to

her wishes for much usage, and worked harmoniously with her as she

has been using the set for many years—she thinks that those needles

are irreplaceable. Christine thinks that with the missing dry point

needles and the American black ink that is no longer produced she

could create fine lines and nuances of black that were sensitive to the

movements of her hands as she made the incisions.

Christine’s works strongly show the traces of the art of printmaking.

Apart from the lines that often appear dominant, her technique in

applying the acrylic paints using palette knives—even when she applies

the aquarelle colors—on the canvas surface have been inspired from

her experience of wiping the ink from the surface of the copper

plate in the etching process. The strength of lines in Christine’s works

creates an atmosphere of drawing works. Indeed, her paintings have

strong drawing and prints characteristics.

In her 8th solo exhibition today, Christine presents the theme and title

of “Symmetrical Sanctuary”, to which I gave the subtitle of “Hidden

Anthology”. Unlike her previous exhibitions, in this presentation

Christine talks about a more personal issue: that of her life in its latest

stage.


Perhaps Christine is indeed an introverted person. With her artistic

travail, however, she becomes extroverted and expressive. Because her

works are the reflections of her experience as an artist, they contain

a range of expressions of hope, regret, joy, and anger. Christine’s lines

are the vibrations of her tumultuous soul, and they might thus appear

soft and calm, but often very strong as well.

38 In this exhibition, Christine presents a twenty-meter-long canvas.

The work represents a series of fragments of Christine’s life in the

stage that she calls a ‘symmetrical sanctuary.’ It is difficult for us to

estimate when the stage of ‘symmetrical sanctuary’ actually began in

her life. We do not know the time span of the flashback moments

that the artist presents here: does it include the latest year in her

life, two years, or ten years? Did it begin with a certain significant

event? Or perhaps since she started knowing someone? We can

never know—only Christine understands the true meaning of the

narrative. The rest of us can merely guess and try to reconstruct

the meanings based on our understanding about her.

Compared with her previous solo exhibition, we can safely say that

in this exhibition Christine does not present any certain theme.

The work itself, as the artist has admitted, constitutes her personal

notes, reflecting her latest stage of life. Of course, the events and

experience noted there are those that she finds significant, although

she does not explain whether the experience had been fun, happy,

or, in the contrary, sad and depressing—or the mixture of sad and

happy. Christine’s works constitutes a self-history of sorts—or self

“herstory” to be exact. The twenty-meter painting is installed on

the wall using magnets. I presume even the magnets actually mean

something.

Christine hopes that the audience can appreciate the work

Symmetrical Sanctuary freely, assign meanings to it as they wish.

This is one of the intentions of the work, as the audience is given

privilege to appreciate and assign meaning to it according to

their experience and perceptions. Christine thinks that it is not

important whether or not the audience understands the real story

behind the painting. In any case, none of us in the audience has

gone through the experiences that Christine had. This means that

the audience can never fully understand and feel the issues that

Christine talks about, even when she tells us the stories.

The title of Symmetrical Sanctuary seems to indicate a “sanctuary”

of sorts for the audience, giving them freedom to respond to the

work according to their needs. In any case, Christine conveys her

39“feelings” using the language of art, which means that what we

have before us is an artistic expression. Naturally, as a work of

art, Symmetrical Sanctuary is inextricably linked with Christine’s

characteristic style. As I have mentioned before, Christine has a

unique tendency and style that no other artist has. Of course,

Christine moves inside the realm of possibilities of her visual

style that has so far become her signature. In other words, the

audience can also respond to the painting as they would to an

aesthetic object.

The forms found in Christine’s work, especially the figures,

often appear with a variety of shapes whose characters are

constructed from lines. They sometimes appear as they are, simply

as impressions, but they are often constructed out of complex

lines. Sometimes the lines flow smoothly and subtly; other times,

they appear strong and rigid. Meanwhile, the colors tend to

appear aquarelle-like, very light, but in other paintings—like in the

Barabas series, we can see opaque hues. Lines and colors have

their respective role; there is never any impression of illusion

in Christine’s works, never any bluntness. (If she needs blunt

impressions, she would present her dolls.) Her works, however,

always appear expressive and strong. Even when she uses

transparent aquarelle, the works still look severe. Apparently, the

experience of incising lines on copper plates and conquering the

hard plates with the dry point needle has played a decisive role.

Perhaps that is why Christine says that she feels most at home

with the technique of printmaking—especially engraving and

etching.

The distinctive artistic quality and the possibilities of multiple

interpretations that we find in Christine’s works give the

audience a chance to play a part in an aesthetic journey that

the work presents. Is it not true that every one of us invariably

has significant memories—whether they happy or sad? Those

experience and memories shape us and help us better understand

ourselves and the world around us. The aesthetic experience

in modern and contemporary art, therefore, is not merely the

40 perceptual experience of standing face to face with beauty, but also

the authentic, sublime, and even disturbing experiences.

One might presume that for Christine herself the work Symmetrical

Sanctuary conveys her hope about a certain ideal condition; a

condition that is totally in balance: a symmetry. Of course, in human

experience, it is difficult to find relations that are thoroughly balanced.

The condition of symmetry in human relationships, therefore, can

only be conjured in dreams and conveyed in art. The ideal condition

of balance can apparently be desired, but it is difficult to find in real

life. That is why symmetry can apparently take place only in places

that are separate from life and human gatherings; only in temples or

“sanctuaries.”

Christine has apparently determined to apply such an ideal condition

in the process of appreciating and collecting her work. To her, the

attitude of accepting and considering others is one of the signs that

might lead us to a condition of balance. She is acutely aware, however,

that life in this world can never attain the condition of an ideal balance:

it is merely a utopia. In this sense, the exhibition of “Symmetrical

Sanctuary” also signifies the artist’s new ideas and attitude. After

feeling rather depressed due to the pressures of the market, Christine

has now a more open and easy-going attitude in responding to the

market. On the other hand, she demands the opposite for members

of the audience who wish to own her work. They who want to buy

her work must be willing to keep their ego in check. Christine wants

them to sit down and discuss and find a certain point of balance in

determining the parts of the works to be collected. At the end of the

exhibition, the twenty-meter painting will be cut in parts, as per the

agreement among the collectors who have been willing to sit down

and discuss.

Christine seems to have prepared everything as a thorough

construction of meanings. The external structure of the space

that seems strong and rigid protects the fragile painting, seemingly

symbolizing a firm and hard outer body whose inside remains supple

and fragile. The invitation for the audience to step into the sanctuary

seems to be an invitation to sit down and share things, to understand

41one another and let go of our ego. The willingness of the artist to

cut her works into many parts also signifies the effort of the artist to

suppress her ego, and at the same time serves as a catharsis for her

to let go of the burden of the past. It also signifies more mature and

optimistic views of the artist in facing the future.

44

Ay Tjoe Christine: Profile

AY TJOE CHRISTINE

Born

1973 Bandung

Education

1992–1997 FSRD ITB, Bandung

Solo Exhibitions

2009 “Panorama Without Distance”, Hong Kong Art Fair, Hong Kong Convention & Exhibition

Centre

“Eating Excess”, Singapore Tyler Print Institute, Singapore

2008 “Interiority of Hope”, Emmitan Gallery, Surabaya

“Wall Prison (part two)”, Scope Miami Art Fair, Miami

2007 “Silent Supper”, Ark Galerie, Jakarta

2006 “Eksekusi Ego”, Edwin’s Gallery, Jakarta

2003 “Reach Me”, Cemeti Art House, Yogyakarta

“Aku/Kau/Uak”, Edwin’s Gallery, Jakarta

2002 “At The Day of German Unity”, Germany Embassy, Jakarta

2001 “Buka Untuk Melihat”, RedPoint Gallery, Bandung

Group Exhibitions

2009 “Bandung Art Now”, National Gallery, Jakarta

“Enam Pekan Perempuan, Salihara Gallery, Jakarta

“Awareness, Canvas International Art, The Netherlands

45 Indonesia Contemporary Drawing, National Gallery, Jakarta

2008 International Print Talk: From The Dark Background of Etchings, Ark Gallery, Jakarta

CIGE 2008, China World Trade Centre, Beijing, China

Expose#1- A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi

Gallery, Four Seasons Hotel, Jakarta

Manifesto, National Gallery, Jakarta

E-Motion, National Gallery, Jakarta

180 x 180, One Gallery, Jakarta

Hello Print!, Edwin’s Gallery, Jakarta

A Decade of Dedication: Ten Years Revisited, Selasar Sunaryo Art Space, Bandung

Shanghai Contemporary 2008, China

2007 Indonesian Contemporary Art Now, Nadi Gallery, Jakarta

China International Gallery Exposition 2007, China World Trade Center Beijing, China

Anti Aging, Gaya Art Space Gallery, Bali

Intimate Distance, Indonesian Women Artists, National Gallery, Jakarta

Conscience Celebrate, Gandaria Heights, Jakarta

Shanghai Contemporary 2007, Main Fountain Square, Shanghai Exhibition Center, China

Art Singapore 2007, The Contemporary Asian Art Fair , Suntec City, Singapore

The 22nd Asian International Art Exhibition, Selasar Sunaryo Art Space, Bandung

Petisi Bandung, Langgeng Gallery, Magelang

Kuota 2007, National Gallery, Jakarta

2006 Jejak dalam Jejak, Goethe House, Goethe Institut, Jakarta

China International Gallery Exposition, China World Trade Center Beijing, China

Langgeng Contemporary Art Festival 2006, Langgeng Gallery, Magelang

2005 Taboo and Transgression in Contemporary Indonesian Art, Johnson Museum, Cornelly

University, New York

The Beppu Asia Biennale of Contemporary Art, Beppu Art Museum, Oita Japan

Tanda Kasih, Edwin’s Gallery, Jakarta

Jejak-Jejak Drawing, Edwin’s Gallery, Jakarta

21th and Beyond, Edwin’s Gallery, Jakarta

Vision & Resonance, Asian Civilization Museum, Singapore

Petisi Bandung, Langgeng Gallery, Magelang

Fragments-KII 13, Edwin’s Gallery, Jakarta

2004 Persepsi dalam Vibrasi, Edwin’s Gallery, Jakarta

Sayap dalam Kata, Studio Budaya Langgeng, Magelang

K-ein Weg, Kunstverein Vreden, Germany

Schoeppingen zu Gast in Brauweiler, Koeln, Germany

Bingkai Narasi Kecil-KII 12, Edwin’s Gallery, Jakarta

Equatorial Heat, Shanghai Museum, China

2003 Girl Talk, Edwin’s Gallery, Jakarta

CP Open Biennale, National Gallery, Jakarta

The 6th Triennale Mondiale D’Estampes Petit Format, Galerie d’Art Contemporain de

Camalianes, France

Beijing International Art Biennale 2003, China National Museum of Fine Art

The 18th Asian International Art Exhibition, Hongkong Museum of Art, Hongkong

Kecil Itu Indah 11, Edwin’s Gallery, Jakarta

Passion: Etno-Identity, The Indonesian Art Foundation (YSRI), Beijing and Shanghai,

China

2002 Bersatu dalam Rasa, Edwin’s Gallery, Jakarta

Dari Abstrak ke Metaphor, Adira Gallery, Bandung

Temu Lintas Kosmologi Imaginasi Liar, Studio Budaya Langgeng, Magelang

“READ”, British Council, Jakarta

The 17th Asian International Art Exhibition, Daejeon Municipal Museum of Art, Korea

Kilasbalik, Edwin’s Gallery, Jakarta

2001 Refleksi, Edwin’s Gallery, Jakarta

Sapopoe, Bentara Budaya, Jogjakarta

Perempuan, Diseminasi dan Makna Ruang, National Gallery, Jakarta

Printmaking in The Future, Cemeti Art House, Jogjakarta

Bias Batas, Edwin’s Gallery, Jakarta

Diluar Batas, with Myriam Cathy, Griya Seni Popo Iskandar, Bandung

Kecil Itu Indah, Edwin’s Gallery, Jakarta

Bandung Art Events, Selasar Sunaryo, Bandung

Art Singapore, The World’s First Fair for Contemporary asian Arts, Singapore

International Convention and Exhibition Centre

Philip Morris 2001, National Gallery, Jakarta

2000 Relativities 4th, British International Miniature Prints Exhibition, Bankside Gallery,

London

Workshop and exhibition with Eva Pietzcker, RedPoint Studio and Gallery,Bandung

Working with Prints, workshop and Graphic exhibition with Masha Ryskin, RedPoint

Studio and Gallery, Bandung

Setengah Abad Seni Grafis Indonesia, Bentara Budaya Jakarta, Jogjakarta

Perupa Muda Bandung, Griya Seni Popo Iskandar, Bandung

1999 Seni Grafis Indonesia 1999, TIM Jakarta

Biasahaja’99, Pameran Seni Cetak Grafis 3 Kota; Bandung, Jakarta, Jogjakarta

46

a solo exhibition by ay tjoe...

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