Robert Draws – The art of resistance takes on a new form through Theresia Agustina Sitompul’s revolutionary “domestic landscapes.” As part of the “Denyar Renjana” exhibition, Sitompul challenges traditional notions of landscape art, offering a fresh and personal perspective on the genre. Her work contrasts sharply with the conventional representations of nature, particularly those from the Mooi Indie era, which often idealized expansive, untouched landscapes.
In the exhibition “Denyar Renjana,” Theresia Agustina Sitompul redefines what a landscape can represent. While the Mooi Indie era landscapes often depicted grand and majestic scenes of nature, Sitompul’s “domestic landscapes” focus on the everyday life and struggles of people. Her works bring to light the hidden stories behind the traditional landscape narratives, offering a raw, unfiltered view of life that challenges historical representations.
Unlike typical landscape art, which glorifies wide, sweeping views of nature, Sitompul chooses to depict more intimate, domestic scenes. She turns her attention to the overlooked details of daily life, presenting a new reality that speaks volumes about the social and economic fabric of society. Her use of carbon press techniques to create her works allows her to break free from traditional painting methods, presenting a revolutionary form of landscape art.
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Theresia Agustina Sitompul’s artistic approach is a direct challenge to conventional norms in Indonesian art. In the past, landscape art, particularly during the Mooi Indie period, tended to focus on pristine views of nature, often disregarding the complexities of human existence. These works typically showcased sweeping views of mountains, rivers, and skies, but they often omitted the people who lived within these landscapes.
Sitompul, in contrast, brings a fresh perspective to the table. The Art of Resistance is evident in her focus on the human experience within the landscape, shedding light on the details that are often ignored in traditional art. Through her works, she explores themes of domestic life, community, and the often overlooked aspects of daily existence that shape the landscape. Her approach offers a deeper, more nuanced view of what landscape art can be, breaking away from the conventional focus on nature alone.
Sitompul’s use of the term “domestic landscape” in her work is intentional and significant. It shifts the focus away from idealized or mythical landscapes, bringing the viewer’s attention to the real, lived experiences of people. Her “domestic landscapes” serve as a reflection of the everyday struggles and joys that shape the spaces we inhabit.
By focusing on these domestic scenes, Sitompul not only challenges the historical representation of landscapes but also calls for a broader understanding of what constitutes a “landscape.” In her eyes, the landscape is not just the natural world but also the social environment that people create and live within. Through her works, she seeks to reclaim the narrative and provide a voice to the overlooked aspects of life that are often left out of the grandiose depictions of nature.
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One of Sitompul’s major contributions to Indonesian art is her critique of the Mooi Indie tradition. The Mooi Indie period, a time when European artists painted idyllic views of Indonesia, often ignored the social and political realities of the time. These landscapes glorified nature but rarely touched upon the everyday lives of the people living in these landscapes.
Sitompul’s work revisits this historical moment and challenges the way these landscapes were represented. Through her “domestic landscapes,” she opens up a dialogue about how art can reflect the realities of human existence, especially in terms of class, race, and social structure. By doing so, she forces the viewer to confront the historical omissions and reframe their understanding of what it means to represent a landscape.
Another significant aspect of Sitompul’s work is her choice of medium. Unlike traditional painting techniques, she uses the carbon press technique, a form of printmaking, to create her landscapes. This method allows for intricate details and textures that would be impossible to achieve with conventional painting. It also adds a layer of depth to her work, making each piece feel like a personal imprint, rather than a mere reproduction of a scene.
The carbon press technique is not just a technical choice; it reflects Sitompul’s desire to break away from tradition and challenge artistic norms. This is a key element of The Art of Resistance, as she uses innovation to defy the expected norms of landscape representation. By using this technique, she makes a statement about the importance of innovation in art and the need to push boundaries. It is a metaphor for her broader artistic philosophy—art should not be confined to the expected, but should always evolve and reflect the changing dynamics of society.
In this sense, Sitompul’s art stands as an act of resistance, not only in terms of its content but also through its medium. Through her choice of carbon press, she reimagines what a landscape can be, challenging viewers to rethink their perceptions and embrace new forms of artistic expression.
Theresia Agustina Sitompul’s “domestic landscapes” are more than just art—they are acts of rebellion. Through her work, Theresia Agustina Sitompul defies expectations and offers a new vision of landscape art that is both personal and political. Her landscapes speak not just of nature but of the human experience within it.
Through her revolutionary approach to landscape painting, Theresia Agustina Sitompul continues to challenge traditional narratives and provide a voice to the underrepresented. By focusing on the domestic, the everyday, and the intimate, she gives us a fresh perspective on what it means to represent a landscape in art. Her works are a powerful reminder that art is not just about beauty, but about expressing the complex truths of our lives.
