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All Journal ARTCHIVE: Indonesia Journal of Visual Art and Design Suluh: Jurnal Seni Desain Budaya
Didung Putra Pamungkas
UIN Walisongo Semarang
Arts Humanities Languange, Linguistic, Communication & Media

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Titik Dan Garis Sebagai Simbol Ekspresi Dalam Berkarya Seni Lukis Didung Putra Pamungkas
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 2, No 2 (2021): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v2i2.2105

Abstract

Titik dan garis bukan hanya sekedar komponen dasar bagi seni-seni visual, akan tetapi juga sumber dari ekspresi itu sendiri, hal ini lah yang menjadi tujuan utama dari penelitian ini. Penulis memperlakukan titik dan garis tidak sebagai komponen visual akan tetapi sebagai media utama pembentuk karya lukis itu sendiri. Metode dan teknik penelitian yang penulis gunakan adalah eksperimentasi, dimana idiom-idiom seperti titik dan garis menjadi sumber dimulainya sebuah penciptaan karya lukis, sementara itu, konsep visual dari karya adalah kemunculan-kemunculan spontan. Artinya, penulis bergantung kepada potensi-potensi dari titik dan garis untuk membentuk sesuatu yang bersumber pada kesadaran spontan. Hasil dari penelitian ini adalah, titik dan garis ternyata mampu merepresentasikan simbol-simbol tertentu yang mengandung ekspresi murni, karena penulis menggunakan pendekatan abstrak.  Kata Kunci : Titik Dan Garis; Simbol; Ekspresi; Seni Lukis ABSTRACTDots and lines are not only basic components for visual arts, but also the source of expression itself, this is the main goal of this research. The author treats dots and lines not as visual components but as the main media forming the painting itself. The research method and technique that the author uses is experimentation, where idioms such as dots and lines are the source of the start of a painting creation, meanwhile, the visual concept of the work is spontaneous occurrences. That is, the author relies on the potentials of points and lines to form something that is rooted in spontaneous awareness. The result of this research is that points and lines are able to represent certain symbols that contain pure expressions, because the author uses an abstract approach.
KARYA PUTU SUTAWIJAYA SEBUAH REFLEKSI ATAS TUBUH Didung Putra Pamungkas
SULUH: Jurnal Seni Desain Budaya Vol 4, No 1 (2021): SULUH: JURNAL SENI DESAIN BUDAYA
Publisher : SULUH: Jurnal Seni Desain Budaya

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Reading Putu Sutawijaya's painting entitled "Single Energy" portrays the body as a central focus, through documentation, and direct observation through his painting which is then analyzed using Roland Barthes's semiotic approach, genealogy of body Foucault, Phenomenology ponty, Heidegger's Existentialism, and Freud's Psychoanalysis. Roland Barthes's semiotic approach divides signs in denotation and connotation. At the level of denotation, Putu is describing the movements of figures with the burden that surrounds them. At the level of connotation explains that the burden on social systems and value systems, binding and not dehumanizing people. Then Foucault explained the body as a soft body. Putu shows that there is no aspect of freedom possessed by free humans in their own bodies. Phenomenology Ponty, the world has been available for individuals. So human relations and their world are never truly distant, but are dialectical. Heidegger's existentialism, saw the relationship of the body with his world. In his paintings, Putu sees culture as always constructing a person, showing the form of one's relationship with his world. Freud's psychoanalysis of libido, as a form of individual freedom to actualize itself, but is always limited by rules, values and norms, Putu's work illustrates that there are efforts to escape, but are still charged by social considerations. With the study of this painting it is hoped that it can stimulate enthusiasm in creating art and enrich new discourses in the world of Indonesian art.
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