JP/Simon Sudarman

The 'Rp 1 billion [US$101,297] painter' was the nickname given to Djoko Pekik when his painting Berburu Celeng (Boar Hunting) sold for that price at an exhibition in Yogyakarta in 1999.

The nation's declining morality remains the primary concern of the painter who was born in Grobogan, Purwodadi, Central Java, 75 years ago.

'In Pawang pun Kesurupan [The Possessed Tamers] I describe the situation of the Indonesian nation, especially its leaders,' explained the father of eight.

The painting, measuring 2 meters by 2.5 meters, reveals Djoko's bitterness of the conduct of the country's leaders. This most recent artwork, not yet on display, was finished in two weeks.

'That is how I portray the nation's situation on the canvas. It is open to interpretation. People can perceive it in other ways. I'm not supposed to understand everything ' even as the painter. Just enjoy and judge it by yourselves,' he said at his gallery in Sembungan, Tamantirto Kasihan, Bantul, Yogyakarta.

Pawang pun Kesurupan depicts jatilan (bamboo horse dance) players and tamers who are possessed. Judges are also depicted in a trance consuming raw meat.

'Under such circumstances, leaders who should set an example and make wise rulings even act the opposite. People will certainly be denied the justice they crave,' he pointed out in a cool tone.

'Artists should never be tempted by material wealth. They should be determined to express their inner voice to the last drop of their blood,' said the husband of Tini Purwaningsih.

Therefore, he explained, when corruption prevails among national leaders a painter should respond by exposing them.

'I see many officials involved in corruption without feeling guilt, it's my duty to do something ' however, small ' for our generation,' stressed the artist, who has produced 500 paintings.

Djoko, once a political prisoner, posited that what was formerly expected and craved by first president Sukarno ' to make the country a 'lighthouse' of the world ' is becoming increasingly more remote and is in fact heading to the reverse.

'We're virtually colonized again, lacking sovereignty and depending on foreign countries. Under the current conditions it's impossible to maintain economic self reliance,' remarked the graduate of Yogyakarta's Fine Arts Academy.

Djoko Pekik says that national character building based on the Pancasila state philosophy is unattainable as a result of erosion by globalization. But the artist is even more troubled by the fact that many seem unaware the situation.

Djoko acknowledged the presence of a handful of successful painters but he doesn't believe in luck or blessing.

'If I succeed and my works are expensive, it's because of the quality of the paintings. The main aim is to share my concerns through pictures, instead of just making them sell well. It's traders who wish to be rich,' he said.

spoke about his early life as an artist when he had to paint under restriction and survive by other means. He had to work as a sewer cleaner to support his family for 17 years from 1970 to 1987.

Regarding the growth of Indonesia's painting world, he feels proud to see the rapid pace of regeneration and high enthusiasm, with the backing of remarkable technological progresses. He also appreciates the construction of buildings by the government for cultural shows and painting on display in almost every Indonesian city.

'It's a good move. But artists shouldn't expect more support from the government. They should be independent instead of relying on other parties because it will be a boomerang as their freedom is bridled,' he said at his house that serves as his residence and gallery.

In his view, good paintings will sell for a high price even if displayed along Yogyakarta's Jl. Malioboro. Conversely, inferior paintings need a curator's attractive packaging to appear good.

'Buyers of such paintings are not always art literate and indeed collectors needn't be art-savvy. They buy with their ears, rather than their eyes or heart. Collectors buy the pictures because they have money,' noted Djoko.

In the future, Djoko will continue without cherishing hopes or dreams because for him, such cravings only impose physical burdens and pressure.

'I'm a jobless man. An artist has no regular work. When I'm physically inactive, my mind is always busy and later will create ideas for paintings.'

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