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ROLE PLAYING GAME Caesaria, Alrezky; Sayahdikumullah, Dikdik
Visual Art Vol 2, No 1 (2013)
Publisher : Visual Art

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Permainan video game adalah ketertarikan penulis yang diangkat dalam karya seni lukis dan termasuk ke dalam kategori permainan pasif dikarenakan tidak adanya unsur interaksi yang didapatkan oleh anak-anak. Namun di masa kecilnya penulis bermain bersama anggota keluarga sehingga ada interaksi yang membuat nilai dari permainan tersebut bergeser. Penulis menciptakan karya dengan membuat sebuah simulasi dari memori yang sudah dipengaruhi pengalaman estetik yang dialami oleh penulis. Proses penciptaan karya melibatkan teknik dan teori seperti perspektif, abstraksi, dan lukisan portrait. Karya seni lukis yang tercipta memiliki bentuk visual pixel yang biasa muncul dalam permainan video game dalam bentuk lukisan portrait anak-anak.

Realitas dalam Grid Onie, Rheza Rynaldo; Sayahdikumullah, Dikdik
Visual Art Vol 3, No 1 (2014)
Publisher : Visual Art

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Kerang dan koral merupakan benda dari masa lalu, bahkan mungkin sudah ada sejak saya belum ada, sesuatu yang jauh dan tak tersentuh. Penulis memiliki ketertarikan personal terhadap bentuknya. Penulis juga tertarik dengan lukisan realis, di mana dalam prakteknya lukisan realis memiliki kesadaran meniru objek semirip mungkin dengan realitas yang hadir saat ini di masa penulis hidup.Selama ini, penulis secara sadar menggunakan metode yang sama dengan fotorealis ketika melukis untuk menyampaikan suatu realitas baru, yakni dengan menggunakan bantuan foto sebagai sketsa, menggunakan metode tertentu dalam memindahkan gambar foto, yakni menggunakan metode grid untuk memindahkan image foto ke dalam lukisan.Berdasarkan paparan diatas, penulis akan menghadirkan ketertarikan penulis terhadap bentuk kerang dan koral pada lukisan realis dengan menggunakan metode fotorealis. Penulis membutuhkan gaya lukisan realisme, yakni merepresentasikan sesuatu, dalam konteks karya penulis, untuk merepresentasikan realitas dalam lukisan fotorealis dan mencari nilai estetiknya.// //

âMY NAME IS NINAâ Muliawan, Meliantha; Dikdik, Sayahdikumullah
Visual Art Vol 3, No 1 (2014)
Publisher : Visual Art

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Penulis merasakan keterasingan akan memori alam bawah sadarnya. Tujuan karya ini dibuat sebagai carapenulis mewujudkan alam bawah sadar (alter ego) berupa perasaan asing. Perasaan ini merupakankualitas moral dan mental yang unik. Subject matter yang divisualisasikan berupa karakter figure manusiayang digali dan dieksplorasi dari memori dan pengalaman hidup masa kecil penulis.Metode yang diambil berdasarkan metode surealisme dengan teknik drawing. Diharapkan pengaplikasiandan modifikasi metode surealisme yang penulis lakukan mampu membuat karya seni surealisme denganvisual yang berbeda. Sehingga unsur lain seperti karakter, tidak menghilangkan atmosfer sureal dalamkarya seni, justru dapat memperkuat hal tersebut.Hasilnya, bahwa dorongan menggambarkan karakter berhasil memicu proses kreatif menjadi lebihspontan dan intim dalam menciptakan bentuk-bentuk yang artistic, kompleks dan misterius.

The Growing Sadness Hegar, Maya Juniarti; Sayahdikumullah, Dikdik
Visual Art Vol 4, No 1 (2015)
Publisher : Visual Art

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Kehidupan itu sebagaimana sebuah lanskap. Kita tinggal di dalamnya, namun hanya dapat mendeskripsikannya jika kita mengambil jarak untuk menilainya. Berbagai macam orang dengan psikologi uniknya masing-masing seiring perjalanan hidup Penulis menjadi hal yang menarik. Dari ketertarikan ini, muncul keinginan Penulis untuk mengangkatnya menjadi permasalahan yang ingin ditampilkan dalam karya tugas akhir. Visualisasi karya tugas akhir ini merupakan bidang-bidang lanskap yang dirancang untuk memicu perasaan atau pemikiran manusia. Lanskap di sini dipakai sebagai bahasa metaphor untuk menceritakan bagian kecil dari dalam diri manusia yang diacu. Konsep estetik ditampilkan melalui beberapa potongan lanskap dengan elemen-elemen alam yang disusun untuk mencapai nuansa tertentu. Karya divisualisasikan menjadi enam (6) lukisan simbolik impresionis yang ditampilkan dengan media cat minyak di atas kanvas. Komposisi warna yang cenderung monokromatik dimaksudkan untuk mengarahkan apresiator dari lanskap menuju makna khusus yang dikandung lanskap tersebut. Diharapkan dari karya tugas akhir ini apresiator dapat memperoleh waktu sejenak mengambil jarak, untuk merasakan dan menilai satu hal samar namun juga penting dalam hidup, kesedihan.

Analysis of Lighting Arrangement in the Film "Buried" (2010) by Director Rodrigo Cortez Sagaran, Angling; Sayahdikumullah, Dikdik; Muksin, Muksin
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 5, No 1 (2024): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v5i1.4098

This study examines the use of innovative lighting in Rodrigo Cortez's film "Buried," focusing on its impact on narrative storytelling within a single-location setting. The limited lighting arrangement is key to the film's uniqueness, effectively portraying narrative tension and the protagonist's psychological journey in a creative and technical manner. Using a qualitative approach, the research analyzes each shot to identify key lighting transitions and thematic motifs. It dissects the film's visual strategies, particularly how Cortez manipulates light to convey the protagonist's psychological state and the passage of time in a confined space. The study aims to understand the effects of lighting arrangement on the film's visual mood and its implications for contemporary cinematography, as well as the psychological effects of lighting in film on viewers' perception and emotions. It also seeks to enhance the experience of claustrophobia using lighting as a narrative device to complement the tense atmosphere in the film's scenes. The results contribute to a broader discourse on cinematography's role in shaping film narrative structures, especially in creating deep visual narratives without relying on extensive settings or special effects. This analysis provides insights into the effectiveness of minimalist lighting in low-budget film making with high constraints.

The Habitus of the People of Tempellemahbang Village Through Rencek Media in Contemporary Art Imawati Rizka; Sayahdikumullah Dikdik; Kurniawati Dwi
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3562

ABSTRACT The abundant teak wood waste in the village of Tempellemahbang, Blora Regency, which is called rencek, Rencek is a Javanese term that means the remains of pieces of wood that are no longer used and are identically used as firewood,was explored through a creative process by the author and used as a medium for creating paintings. Awareness of the exploration of rencek as a medium for painting is supported by the author’s aesthetic intuition and the habitus connection between the people of Tempellemahbang Village and the writer. As for the method of creating works, namely, the author collects & formulates problems related to the topic of the habitus of the people of Tempellemahbang Village, interprets the topic of the problem that the writer stretches to make it an idea for the work, the work design process starts from the medium used to the visualization of the work form, and the execution stage and work realization. In creating this work, the author is interested in and uses references to the work of several Indonesian artists Heri Dono, Amrus Natalsya, and Masmundari. The author explores using teak wood as a medium and produces five works with the title of work, among others; (1) Si Gadis Desa, (2) Tutup Telinga dan Teriaklah, (3) Blandong Kayu, (4) Raut Ekspresi Kami. The writer, who is a native of Tempelembang Village, is intrigued and wants to voice the issue of housing inconveniences in the environment by representing it in the form of works of art. The author uses the medium of rencek wood waste originating from industry. The author is interested in all the activities, expressions and responses of the surrounding community regarding the wood industry environment which can be expressed in contemporary works of art. Through this painting, it is hoped that it will be able to become a medium of artistic expression in expressing the expression of a society that is “oppressed” by capitalists. Keywords: Rencek, Contemporary Art, Decorative, Blora Regency

Rediscovering Art Exhibition Artefacts of Indonesia Pavilion at Osaka Expo’70 Japan Sayahdikumullah, Dikdik; Anai, Miyuki
PURBAWIDYA Vol. 14 No. 1 (2025): Vol 14 (1) Juni 2025
Publisher : Badan Riset dan Inovasi Nasional (BRIN)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55981/purbawidya.2025.8190

This study traces the art exhibition artefacts that bridge tradition and modernity in the Indonesian Pavilion at the 1970 Osaka Expo in Japan. This international art exhibition project is under the responsibility of the Indonesian National Committee for Expo'70. The arrangement of the pre-presentation works of this exhibition reflects the complex correlation between the pavilion design concept, exhibition materials, and the narrative of Indonesian modern art history. A comprehensive research effort is needed to reconstruct traditional and modern art artefacts, focusing on the role of artistic think tanks in collecting their exhibition materials. Qualitative empirical methods were employed, including site location observations, data collection, literature studies, interviews, and the pavilion space reconstruction. This paper reveals that the decision to conceptualize the exhibition materials was made top-down by the National Committee for Expo'70 to the Design Center ITB (DCITB). This pivotal artistic think tank selected, designed, and implemented the configuration of various traditional and modern works of art to stand for the spirit of universalism from the perspective of Indonesia to the international world.

Experiencing Disharmony: Representing the Imbalance in the Human–Nature Relationship Through Drawing Pratanto, Khayla Indiva; Sayahdikumullah, Dikdik; Sudrajat, Dadang
ATRAT: Jurnal Seni Rupa Vol 13 No 1 (2025): INOVASI DAN KREATIVITAS DALAM KARYA DESAIN
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v13i1.4286

This article discusses the Drawing series “Experiencing Disharmony” as a reflection on the imbalance between humans and nature due to anthropocentric dominance. Based on mountain trekking experiences, the work depicts human alienation within vast and unpredictable landscapes, emphasizing submission to natural laws. The theoretical approach draws from mimesis, Romantic aesthetics, Apollonian–Dionysian duality, Gregory Bateson’s anti-anthropocentrism, and Raffaele Milani’s concept of landscape as a contemplative space. A research-based art practice is used, with landscape photography as the visual foundation. Layered pastel and charcoal lines on large paper record both physical and inner experiences. A small human figure facing away from the viewer reinforces alienation. Visual disharmony is conveyed through disproportional scale, metaphorical composition, and color limitations as an ecological awareness. Each of the six drawings is subtitled with geographic coordinates to highlight landscape as a reflective site.

The Habitus of the People of Tempellemahbang Village Through Rencek Media in Contemporary Art Rizka, Imawati; Dikdik, Sayahdikumullah; Dwi, Kurniawati
PANGGUNG Vol 34 No 3 (2024): Kreativitas, Seni Kontemporer, dan Pariwisata Berkelanjutan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v34i3.3562

ABSTRACT The abundant teak wood waste in the village of Tempellemahbang, Blora Regency, which is called rencek, Rencek is a Javanese term that means the remains of pieces of wood that are no longer used and are identically used as firewood,was explored through a creative process by the author and used as a medium for creating paintings. Awareness of the exploration of rencek as a medium for painting is supported by the author’s aesthetic intuition and the habitus connection between the people of Tempellemahbang Village and the writer. As for the method of creating works, namely, the author collects & formulates problems related to the topic of the habitus of the people of Tempellemahbang Village, interprets the topic of the problem that the writer stretches to make it an idea for the work, the work design process starts from the medium used to the visualization of the work form, and the execution stage and work realization. In creating this work, the author is interested in and uses references to the work of several Indonesian artists Heri Dono, Amrus Natalsya, and Masmundari. The author explores using teak wood as a medium and produces five works with the title of work, among others; (1) Si Gadis Desa, (2) Tutup Telinga dan Teriaklah, (3) Blandong Kayu, (4) Raut Ekspresi Kami. The writer, who is a native of Tempelembang Village, is intrigued and wants to voice the issue of housing inconveniences in the environment by representing it in the form of works of art. The author uses the medium of rencek wood waste originating from industry. The author is interested in all the activities, expressions and responses of the surrounding community regarding the wood industry environment which can be expressed in contemporary works of art. Through this painting, it is hoped that it will be able to become a medium of artistic expression in expressing the expression of a society that is “oppressed” by capitalists. Keywords: Rencek, Contemporary Art, Decorative, Blora Regency

Eksplorasi Limbah Papan Kayu Jati Blora dalam Penciptaan Karya Lukis Kontemporer Rizka Alfiana, Imawati; Muksin, Muksin; dikdik, Sayahdikumullah
Arty: Jurnal Seni Rupa Vol 12 No 1 (2023): Regular Issue
Publisher : Jurusan Seni Rupa Fakultas Bahasa dan Seni

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/arty.v12i01.75667

Kayu jati lawasan yang lapuk di wilayah Kabupaten Blora dianggap tidak memiliki nilaiekonomis yang menguntungkan bagi masyarakat. Namun, penulis justru melihat dari sudut yanglain bahwa, kayu jati lawasan tersebut memiliki nilai artistik jika dieksplorasi menjadi media berkarya seni lukis dengan corak lukisan dekoratif yang mengangkat nilai kehidupan sosialmasyarakat setempat. Rumusan masalah dalam penelitian ini yaitu: (1) Bagaimana proses kreatif penciptaan karya seni lukis dengan medium limbah papan kayu jati?; (2) Bagaimanamengekspresikan karateristik masyarakat Desa Tempellemahbang menggunakan pendekatan corak dekoratif dengan medium limbah kayu jati pada karya seni lukis? Proses penciptaaan akanberpacu pada metode penciptaan seni berbasis praktik (Praktik-led Research) yang meliputitahapan eksplorasi medium, pemahaman konsep corak dekoratif dan perwujudan karya. Hasil darikarya penulis yakni merespon kehidupan masyarakat Desa Tempellemahbang yangmerepresentasikan kehidupan kesehariannya yang digambarkan memiliki keharmonisan dengan material limbah papan kayu jati.

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