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Lot Essay
Painted by the visionary artist S. Sudjojonos whose aspirations are expressed in paintings in 1976, The Indestructible Desert is the only known painting to depict a desert-scape and is an important masterpiece in terms of its rarity and significance.
Sudjojono’s landscape paintings are filled with intricacies and one needs to look beyond the physical nature to consider its representation in the mind of its artist. The Indestructible Desert portrays an apocalyptic desert and is a work suffused with personal relevance. It is a visual allegory with a parallel and symbolic relation to the artist’s life. There are familiar elements repeated in other paintings, for instance, the kapok tree and the red ball, which also appear in works such as Taman di Pantai Laut (1968), Menunggu Kapal Berlabuh (1975) and Kapok Trees: Huntan Pantai (1971). The Kapok tree, known as the tree of pain, survives the wild in isolation, and amidst a darkening landscape, its ashen whiteness is stark in contrast. Along with the thorny cactuses, they stand out like haunted spectres in the desolation of the desert-scape and potentially reflect the harshness and inhospitality of the environment, while taking on symbols of suffering and fortitude. The painting also centres on an inanimate red ball. These references are likely personal and their interpretations are only revealed to an intimate few.
A loyal observer of life and a true social critic, he is widely credited with taking a leading role in the Indonesian nationalist movement, and using art as a medium to deliver his messages. While emphasising the importance of social realism to be included in paintings, Sudjojono is known for his criticism of idealistic representations that merely attract tourists to the region. Such artistic style neglects matters of socio-political concern and goes against his purpose of creating realistic art, which was to use it as a tool to better people’s lives. 'The art is not made to be a bouquet of la fine fleur e la nation (flower of the nation) nor are they made for those with sensitivities, but for furthering the improvement of the people.' Sudjojono believes that the role of an artist is not merely to paint, but to be mindful of social inequalities. A painter who embodies these characteristics will then be able to deliver these important messages through art.
Sudjojono realised his vision through artworks like The Indestructible Desert. The specific attention to detail, representation and execution make this a considerable masterpiece. The museum-quality painting cements the path to see art, not in isolation, but appreciating it while being mindful of real-world issues. This ideology remains embedded within the Indonesian art scene as Sudjojono continues to be remembered as the father of Indonesian modern art. The artist served as the founding member of influential Indonesian artist groups and collectives, among them the PERSAGI (Association of Indonesia Drawing Specialists) and Seniman Indonesia Muda (Young Indonesian Artists' Collective). The strength of his influence is also evident in the prestigious awards he received, and the seven national and international exhibitions he held over the years.
Sudjojono was a truth seeker and an artist who fought to unveil the reality of life. His paintings offer a window into the mind of a great artist, and serve as an expression of his “visible soul”.
Sudjojono’s landscape paintings are filled with intricacies and one needs to look beyond the physical nature to consider its representation in the mind of its artist. The Indestructible Desert portrays an apocalyptic desert and is a work suffused with personal relevance. It is a visual allegory with a parallel and symbolic relation to the artist’s life. There are familiar elements repeated in other paintings, for instance, the kapok tree and the red ball, which also appear in works such as Taman di Pantai Laut (1968), Menunggu Kapal Berlabuh (1975) and Kapok Trees: Huntan Pantai (1971). The Kapok tree, known as the tree of pain, survives the wild in isolation, and amidst a darkening landscape, its ashen whiteness is stark in contrast. Along with the thorny cactuses, they stand out like haunted spectres in the desolation of the desert-scape and potentially reflect the harshness and inhospitality of the environment, while taking on symbols of suffering and fortitude. The painting also centres on an inanimate red ball. These references are likely personal and their interpretations are only revealed to an intimate few.
A loyal observer of life and a true social critic, he is widely credited with taking a leading role in the Indonesian nationalist movement, and using art as a medium to deliver his messages. While emphasising the importance of social realism to be included in paintings, Sudjojono is known for his criticism of idealistic representations that merely attract tourists to the region. Such artistic style neglects matters of socio-political concern and goes against his purpose of creating realistic art, which was to use it as a tool to better people’s lives. 'The art is not made to be a bouquet of la fine fleur e la nation (flower of the nation) nor are they made for those with sensitivities, but for furthering the improvement of the people.' Sudjojono believes that the role of an artist is not merely to paint, but to be mindful of social inequalities. A painter who embodies these characteristics will then be able to deliver these important messages through art.
Sudjojono realised his vision through artworks like The Indestructible Desert. The specific attention to detail, representation and execution make this a considerable masterpiece. The museum-quality painting cements the path to see art, not in isolation, but appreciating it while being mindful of real-world issues. This ideology remains embedded within the Indonesian art scene as Sudjojono continues to be remembered as the father of Indonesian modern art. The artist served as the founding member of influential Indonesian artist groups and collectives, among them the PERSAGI (Association of Indonesia Drawing Specialists) and Seniman Indonesia Muda (Young Indonesian Artists' Collective). The strength of his influence is also evident in the prestigious awards he received, and the seven national and international exhibitions he held over the years.
Sudjojono was a truth seeker and an artist who fought to unveil the reality of life. His paintings offer a window into the mind of a great artist, and serve as an expression of his “visible soul”.