R Intan: Created page with "==What is it about?== ''Di belakang canvas'' (At the back of the canvas), a special presentation of Kustiyah’s works by Hyphen— in ARTJOG 2023. “Kustiyah, an ASRI student, painted the scenery of Tegal beach.” This was what accompanied a portrait in SIASAT magazine, issue 484th, September 1956. Submitted by a resident of Kalibuntu, Tegal, the portrait depicted a young woman painting on a beach, with h..."

2025-10-27T15:14:42Z

Created page with "==What is it about?== 500px|right|thumb|''Di belakang canvas'' (At the back of the canvas), a special presentation of Kustiyah’s works by Hyphen— in ARTJOG 2023. “Kustiyah, an ASRI student, painted the scenery of Tegal beach.” This was what accompanied a portrait in SIASAT magazine, issue 484th, September 1956. Submitted by a resident of Kalibuntu, Tegal, the portrait depicted a young woman painting on a beach, with h..."

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==What is it about?==

[[File:Still from Di belakang kanvas2.jpg|500px|right|thumb|''Di belakang canvas'' (At the back of the canvas), a special presentation of Kustiyah’s works by Hyphen— in ARTJOG 2023.]]

“Kustiyah, an ASRI student, painted the scenery of Tegal beach.” This was what accompanied a portrait in SIASAT magazine, issue 484th, September 1956. Submitted by a resident of Kalibuntu, Tegal, the portrait depicted a young woman painting on a beach, with her long hair braided in two. Just a few steps from her, a sea and a small boat were visible. On her canvas, Kustiyah was painting some boats who were lying at anchor.

When the picture was published, Kustiyah was a third-year university student majoring in painting. She was also a known keen participant in various events held by the art studios surrounding her campus in Yogyakarta. Plein air painting, in which the painter was present to encounter their subject matter, was one of the methods taught in ASRI. It was also one of the popular methods practiced by most artists at that time. Several artist cohorts linked to ASRI—including Sanggar Pelukis Rakyat (People’s Painters Studio), Sanggarbambu (Bamboo Workshop), and Gabungan Pelukis Indonesia (Indonesian Painters Association)—often conducted collective painting activities in the open air. These Revolutionary-era artists firmly believed that this painting method would help their works be more accessible to people in general. Their works would be graciously present among their environment, not forced or trumped up.

''Di belakang kanvas'' ("At the back of the canvas") is the title of a video conversation between three Kustiyah researchers (made with Ary “Jimged” Sendy, M. Revaldi, and Prima Rusdi, 2021). In the video, the phrase ‘at the back of the canvas’ had at least two meanings. The first was Kustiyah standing at the back of the canvas to work where she held the brush, painting. And the second one was Kustiyah standing at the back of the canvas to strike a pose. Kustiyah was often asked to be a model for her fellow artists, including Gregorius Siddharta, Sutopo, Sudarso, Sunarto PR, Edhi Sunarso, and Trubus. The 24 minutes-long researchers’ conversation led to these questions: when she was painting her self-portrait, where did Kustiyah stand? When she became a model for her friends’ paintings, where did Kustiyah stand? “At the back of the canvas” was an answer that embodies the dynamic possibilities of Kustiyah’s artistic whereabouts.

"At the back of the canvas" is also the title of this ''Special Presentation at ARTJOG 2023 Motif: Lamaran''. The presentation exhibits two woodcuts, three drawings, and nine paintings by Kustiyah—all are loaned from Griya Seni Hj. Kustiyah Edhi Sunarso. Throughout her life, Kustiyah worked and exhibited consistently until 2006. Apart from painting, Kustiyah was also an active member of various art organizations. She also enjoyed arranging flowers. She was also experienced in designing clothes, including making motifs and prototypes. She died in 2012. In 2015, her family displayed many of her works at Griya Seni Hj. Kustiyah Edhi Sunarso, in Jombor, Yogyakarta. So far, Hyphen— has recorded 110 works by Kustiyah, most of which were paintings. In other words, throughout her life, Kustiyah was perpetually entangled at the back of the canvases.

At the back of the canvas - Revision history