Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.


INTRODUCTION
In fine arts, creating artworks always begin by certain idea which then actualized by various activities and involving other people to become the artworks.In that actualization, there are exploration and experiment in processing the idea, exercise the materials of artworks, execution process, and finally displaying the artworks in exhibition.These things involves the whole intellectuality of artists' mind and feeling.Also, the artists' social environment and culture give the influence and have the mutual contribution for the artists and their artworks.
Then, is there the research in creating artworks?If there is, what kind and type of research?Is there any exact formulation of the research in creating artworks?Through comparing 3 case studies, this study try to find out those questions in order to understand the research, creating artworks, and its' relation so it is possible to open up the other possibilities in advance the knowledge.The data of this research are obtained by implementing the ethnography method.While Editorial Book of Review IJCAS: Vol. 3, Number 1 June 2016 analysis is implemented the artistic research theory and supported with practiceled research theory.

Case 1: Surya Wirawan's Solo Exhibition
In December 2012, Surya Wirawan, one painter of Indonesia, held a solo exhibition in Yogyakarta which showed comic paintings using water colour on paper.There were 5 strip comics consist of 5-7 pictures, 7 single paintings on paper seized 18cm x 15cm, and 2 comics based from Kiswondo's short stories which are one consist of 20 pictures and the other 30 pictures.
Climen, the title of the exhibition, is from abbreviation of Javanese Cilik-cilik yo Men or Little Things are No Matter in English.The relation of the title can be showed directly from the size which not even get 50cm x 50cm for each painting and the media which used paper and water colour.Considering the condition in that year which was still in fine arts booming so the trading of the artworks is very high; in price and quantity; there was a common agreed that only the big paintings and good media of painting (such as canvas, oil and acrylic paint) which can be sold.So, the Climen exhibition was such the speech from Surya Wirawan to criticize the market condition which then directing the artists in creating artworks for selling purposed.

Case1:Surya Wirawan's Solo Exhibition
In December2012, Surya Wirawan, onepainterof Indonesia, held inYogyakartawhichshowedcomicpaintingsusing watercolouronpap comicsconsistof 5-7pictures,7singlepaintingsonpaperseized18cmx1 basedfromKiswondo'sshortstories whichareone consistof 20pictur Climen, the title ofthe exhibition, isfrom abbreviation ofJavaneseC Thingsare NoMatterinEnglish.Therelationofthetitlecan beshowedd whichnotevenget50cmx50cmforeachpaintingandthemediawhichus colour.Consideringtheconditioninthat yearwhichwasstillinfineartsb oftheartworksisveryhigh;inpriceandquantity;therewasacommonagr and good mediaofpainting(suchas canvas,oiland acrylicpaint)which So,theClimenexhibitionwassuchthespeech from Surya Wirawantoc which then directingthe artists in creatingartworks for sellingpurpo   Beside the physical artworks, the contents of all Surya Wirawan's paintings are told about the life of the ordinary people.There are the cassette seller that is not famous anymore in recent digital era, the retail petroleum seller, the seller of lighter gas refill as the content of the single paintings.While in his 4 strip comics, he told about arts activities in booming condition that the artists' main orientation were not communicate and share their ideas by the artworks in exhibition, but selling the artworks.And, in his two comics based on Kiswondo's short stories that ever published in the newspaper, the stories are about the struggle of the family of labour and farmer to solve their live problems related with their fund limitedness.All the artworks which tell about the little things actually happened in our daily lives and slipped away from our concerns.

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butselling theartworks.And,inhistwocomicsbasedonKiswondo'sshortstories thateverpublishedinthenewspaper,thestoriesareaboutthestruggleofthefamily oflabour andfarmertosolvetheirlive problemsrelatedwiththeirfundlimitedness.Alltheartworks whichtellaboutthelittlethingsactuallyhappenedinourdailylivesandslippedawayfromour concerns.He needed4ye arstoprepa reallartwo rksfor thissoloex hibition.T heideafor his7single paintingsand5stripcomicscamefromhisdaily livethatexperiencedbyhimselfandother peopleinhissocialenvironment.Hetooktheactivity thatinteresting,arrangedtheobjectand the speechofeachpicture,madethesketch onpaper and then copyitto transparant paper(see figure4).Afterward,thesketchontransparantpaperis tracedtothepaintingpaper, andfinally colouredthepictures.Forthestripcomics,thestorywasbreakdowntosomemainideas(see150figure6).Then,composedthemainideasandthepicturesincluding theconversationstothe columnsofsketch.Especiallyfor2comicsbasedonKiswondo'sshortstories,hemadeseveralHe needed 4 years to prepare all artworks for this solo exhibition.The idea for his 7 single paintings and 5 strip comics came from his daily live that experienced by himself and other people in his social environment.He took the activity that interesting, arranged the object and the speech of each picture, made the sketch on paper and then copy it to transparant paper (see figure 4).Afterward, the sketch on transparant paper is traced to the painting paper, and finally coloured the pictures.For the strip comics, the story was breakdown to some main ideas (see 150 figure 6).Then, composed the main ideas and the pictures including the conversations to the columns of sketch.Especially for 2 comics based on Kiswondo's short stories, he made several meetings with the author to discuss the content of the story, the transcription of each story to the comics, the plot story arrangement in the comic which do not exactly the same as Kiswondo's until the comics were realized as the artworks.

IJCAS,Vol. 3, Number 1 June 2016
35 meetingswiththeauthortodiscussthecontentofthestory,thetranscriptionofeachstory to thecomics, the plot storyarrangement in the comicwhich do not exactlythesame as Kiswondo's untilthe comics wererealized as theartworks.He was exploring special technique in colouring his artworks.He was using two steps painting for each colour.Firstly, he brushed the water colour in certain area.Then, he brushed the water in that area by different paintbrush.He had been explored this technique since 1994 using acrylic and canvas media at that time.He felt that getting successful in implementing this technique by water colour in this exhibition.Though, in his solo exhibition in 2008, he had presented this technique using the same media, but he did not satisfied yet.In Climen, the colour in his artworks are looked very soft and transparent so many people did not believe that those artworks are using water colour.An artist of fine art even presumed that Surya Wirawan was using pencil colour then brushed with water in colouring his artworks.To draw the painting objects as real as it looked, he was doing observation of the real objects.For drawing the coffee leaves of the comic Ketika Pohon Kopi Tak Lagi Berbuah (When Coffee Trees Have No Bear Fruit Anymore) which is not common for him, he observed the coffee tree and its leaves in his neighbour.So, there were the study process in drawing the objects by sketching which was documented neatly.

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His paintings which tell about the live of lower class people and daily common activities showed his alignments that is for little people.It is parallel with his way of life that is very modest and ordinary.However, he kept criticizing the habit of common people that danger other people and themselves in driving (see figure 8).Overall, his artworks and choice of his way of life are showed his ideology about social live of common people.His ideology in this exhibition did not appear explicitly as his previous artworks; painting and printmaking in his beginning period as the painter.The implicitly appearance of his ideology that can be detected by content, materials, and objects of his artworks penetrated through his long journey in creating artworks since 1991.

Case 2: Ugo Untoro's Solo Exhibition
The solo exhibition by Ugo Untoro in 2013 which showed literature painting; poems and fiction short story or unfinished short stories; was needing 13 years intensive process which were shown by Ugo's artworks documentation.He started by painting any words and sentences in 2000.In the beginning of his experiment (2000-2001 and 2004), he combined the literature text, numbers, figures, and object on canvas.After vacuum for 2 years (2002)(2003), he was Todrawthepainting objectsasrealasitlooked,hewasdoing observationoftherealobjects.FordrawingthecoffeeleavesofthecomicKetikaPohonKopiTakLagiBerbuah(WhenCoffee TreesHaveNoBearFruitAnymore)whichisnotcommonforhim,heobservedthecoffeetree anditsleavesinhisneighbour.So,therewere thestudy processindrawingtheobjects by sketching which was documented neatly.
Thereafter, the absorb phase started.The artists and curator lived in the location for a month.While they were staying, they search tangible and intangible information and data by beginning with the meeting with representatives of community, interview related parts, informal conversation with the community who came to the basecamp, got involved in the community activities, go to the industrial and community forests, go to the historical sites and public spaces in the village.During searching the information, the team held the regular meeting to share and discuss their findings and opinions.All information and data in the absorb phase then shared to the public in a discussion.In this discussion, the team also got many inputs that is very useful as the sharpening in the artworks and the art project itself.
Then, the artists were creating artworks for 4 months.During creating artworks, it was possible to get back to the location if necessary and also meet the researcher to get more information.In this phase, the intensive discussion between the artists and curator is important so artists' needs can be detected and facilitated rapidly.
After the artworks done, all were presented to the community in the art project location.Though the local community are common with traditional arts, they were able to enjoy the contemporary artworks.This presentation became the forum for artists and local community to have the conversation about the artworks, the certain location in their village which showed in the artworks.14), the landscape of village which most area is forest (figure 15), the daily work of the farmers related to forest (figure 16), the contradictive of citizen forest and industrial forest related to natural destroy (figure 18), the spirit that arising when stay in the forest (figure 17).This exhibition was ended with the public discussion to share about the research, the art project, the real story which involved also a representative of local community as the resource person.To close the whole art project, there was an evaluation meeting to review all the phases, method, artworks, and management.
This art project enable the interaction between the artists and community in certain issue which not event learned by the artists previously.The artworks present the real live and problem of certain community by explore the artists' knowledge, evidences, and aesthetic understanding.The scientific research which held using ethnography method gives the valid data that helps the artist to catch the problems and enable them to concentrate doing their research for creating artworks.

Figure 6 :
Figure 6: Surya Wirawan The Design Short Story Breakdown of Kalender Pencil on paper Source: Surya Wirawan archives

Art Project of Collective artists
Sound and Celebration of Death Agustinus Dwi Nugroho.The Artist: Silent Technique in Film Form Thanom Chapakdee.Art of Engagement Riana Diah Sitharesmi.Soliloquies: A Movement-based Approach ... Nor Idayu binti Ibrahim.The Development of Formal Ceremonial Noni Sukmawati.Literary performance in the Act of Pendendang Kurniawan Adi Saputro.Conference Report benefits, dreams, love to explain his concerns.All the content materials are cached from his personal experiences, the live in his neighbourhood, and combining with his imagination and fantasy which get from his adventure in various fictions.Thus, there is the literature study in creating his artworks.Though he doesn't intend the specific literature study to create certain artwork (painting and exhibition) and reading become as his habit, he has the consideration to involve what he has gotten from the literature to create his artworks.The study in this exhibition is also implemented in creating his literature paintings.In 2007, he ever watched the text painting exhibition in Art Bassel 2007 of Venice.As mentioned previously, in 2007 he started to do the exploration in painting the text intensively.The Art Bassel text exhibition then influenced he to be freer and courage in realised his idea.It gave him the spirit to execute his idea about literature paintings.So, the reference of other similar type artworks became very important in creating artworks as a sign that his idea is make sense and find out the different type of text paintings which had not existed yet that is literature.The art project which titled Tentang Hutan (About Forest) involved a researcher in anthropology field and 8 artists of fine arts.The artistic work stages in this art project are composed clearly.It started with a research about The Impact of Social Movement on The Socioeconomic Security of the Peasants in Ngadisono Village, Wonosobo of Central Java in 2011-2012 by Dwi Any Marsiyanti.