Dots instead of strokes, he said, defined his painting style. Made famous by George Seurat, this late 19th-century technique known as pointillism was also adopted by legendary painters Paul Cezanne, Paul Gauguin and Vincent van Gogh.

CHANDRA MAULANA: (JP/P.J. Leo)

Chandra Maulana has not reached that level of notoriety just yet but has showcased his works many times.

However, his career is picking up with more than 30 of his works to be displayed at the Center for Strategic and International Studies (CSIS) office in Tanah Abang.

Fully supported by Kupu Kupu Art Projects Management, 'Momento' is not only about Chandra's personal moments. He said there were times in our lives that were bound to memory and history.

"So for this exhibition, 'the moment' is not strictly about my personal journey because those experiences could be shared by others, and possibly reflect their lives."

For his solo exhibition Chandra has chosen mainly female subjects largely with avant garde-ish fashion styles; a woman on a white sofa, a bride to be, a woman sipping her afternoon tea, a woman with a black and red dress and many more.

Chandra was prepared for any potential outburst or fiery comments from women or activists claiming he exploits women as objects in his paintings, or he is just another male-dominant artist who seeks pleasure in glorifying women's physical beauty.

"Those women in my paintings are the subjects. They are controlling the landscape and the ideas I wish to share," he said.

Having spent 16 years in marketing, Chandra was well exposed to the blaring clubbing scene and got along with party animals of all sorts. Chandra connected with this scene, absorbing its images so when he translated ideas onto canvas, they became fashionable and artsy images.

"I like to observe people around me. There are times in my interactions with people where I can sense and grasp their characters and particular personal traits. Those kind of things have inspired me. Most of the works are inspired by my past interactions with people."

"If you ask me if the women in my works are the women in my life, I could say yes and no. I may know the characters I draw but I also just daydream about some of the others.

Chandra said the women were represented by their thoughts and actions, not just by the fact they were women.

"I think that is the best way to see a woman."

His curator Rizki A. Jaelani said Chandra's works could be easily misinterpreted as a masculine-feminine dichotomy, which incorrectly translated as body exploitation or glorification of female sexuality.

"That Chandra also has a certain degree of worry for such misinterpretation convinces me that he does not exploit female sexuality," said Rizki in a statement.

Confessing that he "wasted 16 years of his life" working as a professional in a cushy job, Chandra turned over a new page in his life through painting.

"Leaving my job was my toughest decision yet because it affected my entire life, and family's life, but they supported me. Now, I have more free time for myself and my family," said Chandra, who is a father of three.

Chandra was at the top managerial level of a giant beverage corporation when he decided to throw in the towel. With art running in his blood, Chandra has been exposed to painting since he was a young boy.

"My mother still paints to this day."

Recently in Bandung, West Java, his extended family -- 12 people -- staged a family exhibition, where Bandung-based legendary painter Popo Iskandar, a relative, featured.

"As a boy I was often left with my uncles, who were painters. Unconsciously I learned a lot through them," he said in an interview Friday in South Jakarta.

Painting is Chandra's passion. After graduating from high school, he yearned to go to art school but for some reason chose business school.

"My wife was the most excited when I told her about my decision to paint. She says at least she knows where to find me nowadays," said Chandra.

Of all his works, there is one particular painting that he will never put on sale for collectors. "It's a painting of my wife. I want to keep it for sentimental reasons...it is a memento of feelings I felt for her when I did the painting. It's the most precious."

Momento

Solo exhibition by Chandra Maulana

Center for Strategic and International Studies (CSIS)

Jl Tanah Abang III No 23-27, Central Jakarta

Tel. 386-5532 - 35

Dec. 10 - 17

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