TAPIP BAHTIAR'S ARTIST PERSPECTIVE ON HIS ARTISTIC JOURNEY
Keywords:
art work, artist, calligraphyAbstract
An artist is someone who is sensitive to the symptoms that appear around them. They address them through visuals. Every artist has a view on life that is represented in a work. Indonesia has a lot of artists, some of whom are the main profession, some of whom are free time fillers. Tapip Bahtiar is a calligraphy artist, cultural arts educator and cultural actor. Perhaps only the creator knows why he is so obsessed with calligraphy. Of the many works, there are several that are neatly arranged in a private living room. The work is very memorable considering his life journey in art.
The purpose of this research is to reveal the views of artist Tapip Bahtiar in addressing current phenomena through the visualization of selected works as fillers of his personal space. this research uses qualitative methods that produce descriptive data by means of observation, interviews, and documentation studies.
Tapip bahtiar is one of the artists in Indonesia who makes calligraphy as his figure, sometimes he also follows the market by making his work for sale. his passion for art has indeed grown since he was a child. He has participated in many exhibitions ranging from campus events to international levels, which is certainly a source of pride for him and the people around him. His view on art today is that it is more technological, instantaneous and can be negative and positive, which means it comes back to each of us.
References
Adcock, C. (1990). James Turrell: The Art of Light and Space. In Leonardo (Vol. 24, Issue 5, p. 627). University of California Press.
Alashari, D. (2021). The Significance of Feldman Method in Art. International Journal of Psychosocial Rehabilitation, 25(02), 877–884.
Aviv, V. (2014). What Does The Brain Tell Us About Abstract Art? Frontiers in Human Neuroscience, 8(1 FEB), 8–11. https://doi.org/10.3389/fnhum.2014.00085
Christensen, R. (2017). Mark Rothko: Art as an EXPERience. The Significance of Interaction Between Painting and Viewer in The Rothko Chapel. RIHA Journal, 2017(December), 1-27.
Gardiner, H., & Gere, C. (2016). Art Practice in a Digital Culture. In M. Deegan (Ed.), Art Practice in a Digital Culture. Ashgate Publishing Limited.
Gozali, A. (2019). Dimensi Spiritual dalam Seni Lukis Abstrak Kontemporer Indonesia: Sejarah dan Wacana. Acintya Jurnal Penelitian Seni Budaya, 11(1), 1–15.
Low, Y. (2015). Becoming Professional: Feminisms and The Rise of Women-Centred Exhibitions in Indonesia. Australian and New Zealand Journal of Art, 15(2), 210–224.
Mami, K. (2021). Another Energy: Power to Continue Challenging - 16 Women Artists from Around The World. Mori Art Museum Press Releases.
Markle, J. (2017). Art Journey - Abstract Painting_ A Celebration of Contemporary Art. North Light Books_F+W Media.
MR Santosa, kaffah imanuddin, & Listiani, S. (2023). PENGGUNAAN ZPA HASIL EKSTRAK KULIT POHON RAMBUTAN RAPI’AH UNTUK PEWARNAAN BATIK CELUP MENGGUNAKAN TEKNIK FIKSASI. Practice of Fashion and Textile Education Journal, 3(2), 47 - 54.
Poninghaus, T. (2019). Abstract Painting: Ideas to Canvas. Pen2go.
Ranniry, Z., Bulu, R. I., Jennifer, F., Liendani, V., & Pandanwangi, A. (2023). Ungkapan Visual Perempuan dalam Karya Seni Lukis dari Sudut Pandang Jenny Saville. Ideas: Jurnal Pendidikan, Sosial, dan Budaya, 9(1),
Siahaan, A. (2017). Simon Admiraal: Sosok Dibalik Berdirinya Pendidikan Seni. Intitut Teknologi Bandung.
Soriano-Colchero, J. A., & López-Vílchez, I. (2019). The Role of Perspective in The Contemporary Artistic Practice. Cogent Arts and Humanities, 6(1), 1-15.
Syam, R. (2020). Karakteristik Lukisan Abstrak Karya Thamrin Mappalahere Tahun 2020. Malaysian Palm Oil Council (MPOC), 21(1), 1–9.
