Yogyakarta-Based Artist, Lugas Syllabus Paints Life in Captivating Stories

Lugas Syllabus, ‘The Garden of Triumph’, 2015.

As a contemporary artist, living and working in Yogyakarta, Indonesia, Lugas Syllabus is highly revered for his paintings and sculptures that address the ironies and contradictions in modern and contemporary society. Drawing inspiration from a variety of mediums, Syllabus’ work often incorporate elements of pop culture, media and technology; coupled with memories and folklore. Armed with an undergraduate degree in painting from the Institut Seni Indonesia (ISI) of Yogyakarta, Lugas Syllabus has participated in a multitude of artist-in-residency programmes in Passau, Germany; Brisbane, Australia and Singapore, with a selection of work showcased globally.

Legenda Pendekar dari Bukit Asia. 200cm x 150cm . Acrylic on Linen. 2014. Collection of Mr. Kevin.

You grew up in Bengkulu, Indonesia, and are now established in Yogyakarta, the art capital. Tell us about your first steps as an artist?

I’ve loved art since I was a kid, and decided to be an artist since senior year in high school after a visit to Yogyakarta with my family. It was my father and my uncle Idran Yusuf, who were also artists, that showed me ISI (Indonesia Institute of Art at Yogyakarta). Since then, I pushed myself to make many sketches and paintings everyday, neglecting other subjects, in order to achieve 10 best result test to join ISI.

Living construction in the Garden of Memory. 120cm x 150cm. Acrylic, gold leaf on linen, 2018. Exhibited at Solo Show of Lugas Syllabus. We dance together, curated by Khai Hori. Chan+Hori contemporary Singapore, 2018. Image courtesy of the Artist n Chan+Hori, and Collection of Mr Tan Hon Yik.

You seem to take inspirations from very diverse sources – pop music, television series, movie posters, even videogames – how would you describe your style?

I love storytelling, describing through painting and explaining with poetry, using my own daily life as a subject.

‘Work Eat Work’ Reconsumerism auto machine. Mural on Lugas Syllabus Solo Show ‘Natural Born Worker’ Finale Art File Philipine. 2016. Image courtesy of Artist and Finale Art File, Manila.

Your art is vibrant with vivid colours and a palette of images sampled from domains as diverse as nature documentaries, art history and religious icons. Tell us more about the “psychedelic imagery” you are using  and the “hidden” messages you seem to be trying to push across?

I like to push my art not only into galleries, fairs, auctions and collector walls. Im happy if it appears in the public space and is given more attention and contribution. I began using hidden messages after I showcased Davinci Codex in Milan during my residency in Europe 2012 and also Goya’s Paper in Madrid. I can’t tell the hidden message now but I’m working on my own paper now about the sign and I’d like to keep it a mystery.

Golden Limousine in the heaven of Art, 200cm x 300cm, Acrylic on Linen, (2016)

A lot of your work deals with a sociological observation of societal power structures. Your work also contains political themes (your large-scale artwork “Golden Limousine in the Heaven of Art” or “Golden Prayer” for instance). Do you see yourself as an “engaged” artist?

You are right. I feel an artist should engage in political themes but should not be controlled by it. We call him the knight of social betterment. He always considers himself a hero that is the man who has given over the meaning of life to his God, who lives focusing on the delight of his surrounding families and just society, the one who expands, the one who rallies to make mankind towards a more beautiful and Nobel world. And I try to work on it with my own beliefs, I want to be more meaningful also for my God. I believe if society is organized cooperatively, or cohesively so that socioeconomic resources can benefit all, there would no longer be corrupted governments as dirty politics would vanish and there would be no more racism. Like in the Golden Limousin: I dream of myself driving equally with my heroes like Michelangelo, Leonardo da Vinci, Raden Saleh, Picasso, Chang Ta Chien, Warhol, Affandi and a lot more. Therefore, no more racism, no need for power. No need for citizen’s obligation. No need for just society and no need for legitimate politics.

Royal Wedding Series ‘Blessing Family on the Golden Tree’.
Dr. Oei Hong Djien on The Royal Wedding stage.
Set of Painting , Bridal Stage, Photobooth, and Interactive Photo Contest via Media Social. 2019.

Your main output medium for your ideas is through painting and sculpture. How do you decide which medium to use over others for your ideas?

The concept or story controls the medium. I also like to work across mediums, for example, my work known as the ‘royal wedding series’ where I made a bridal stage and photo both contest. In this art, the audience and space are very important.

Nature inside Nature. 200 cm x 300 cm. Acrylic, Gold Leaf On Linen. 2018. Collection of TOTO Indonesia.

What is the most challenging part about creating your artwork?

To make it similar to my imagination…, the are limits to material but my fantasies are really wild…

‘Berbatas tapi tak Terbatas tapi Berbatas’. Interactive Room ‘mushola’ Prayer Room set of Raden Saleh painting of Merapi. Medium Variable. 2019. Exhibited at ArtJog MMXIX Jogja National Museum 2019. Image courtesy of the Artist n Art+Jog

You have collectors around the world. You are referenced amongst the leading global art websites. What does such recognition inspire in you?

As Warhol said if Art is a business make a good business, Art Business is more about trust and joy of process. I make many mistakes but I keep learning and I want to keep doing my progress as I enjoy it and I don’t want to stop.

Title: The Relationship between hope and blood. Medium: Teakwood, Fiberglass, Silicone Rubber, Dand Colouring Car Paint. Year: 2014 – 2017. Size: 160cm x 130cm x 260cm + Variable Dimension Small Stone Sculpture.

How do you view the current art scene in Indonesia? How important is the space given to artists in modern Indonesian society?

The Indonesian Art Scene has made good improvement but it needs more support from the Government and Art Collector. In Indonesian modern society, artists have more wide space, as they work across many disciplines. But we also need to give more support for artists and Art Promoters (curator, gallery, dealer etc) who try to push their careers to international platforms, and promote Indonesian Art globally.

Lugas Syllabus.
Standing,Running,flying #2. 200cm x 300cm. Acrylic on Linen. 2015.
Exhibited: The Prophet ‘Solo Exhibition Of Lugas Syllabus. Curated by Hendro Wiyanto. Sangkring Art Project.
Collection of Mr Hosiyadi.

The five words that best describe your art?

Theatrical, Landscape, Poetry of Hope.

Forbidden tree and the Golden Age. Acrylic, Gold Leaf on Linen. 200cm x 300cm. 2017.
Exhibited at ‘Lugas Syllabus Solo show’ tomorrow must be better. Art021 Shanghai, Element art Space. 2017. Collection of Micky Tiroche.

In which city can we expect to see your next solo exhibition?

I am working on some plans for a solo show with galleries overseas. But perhaps China may be the closest. Since my successful sold out solo show at Art021 Shanghai and Museum show at Nanjing, I keep in contact with China Collectors, Curators and Art Friends, and am happy to still sell some work to them even during Covid.

The Sound Of The End is the New Beginning. Size: LxWxH. 380x140x132cm3. Medium: Buffalo horn, Goat hair, Metal, Brass etched, Electronic Motion Sensor, Wire. Year: 2015 – 2017. Exhibited: 2016. Art Stage Singapore.2017. Golden Landscape ‘Lugas Syllabus Solo Show ‘ Katamsi Gallery Indonesian Institute of Art.2019. Pholypony South East Asia. Nanjing Museum of Art, China.

The Sound Of The End is the New Beginning. Size: LxWxH. 380x140x132cm3. Medium: Buffalo horn, Goat hair, Metal, Brass etched, Electronic Motion Sensor, Wire. Year: 2015 – 2017. Exhibited: 2016. Art Stage Singapore.2017. Golden Landscape ‘Lugas Syllabus Solo Show ‘ Katamsi Gallery Indonesian Institute of Art.2019. Pholypony South East Asia. Nanjing Museum of Art, China.

Where can we see some of you work online, are these for sale?

You may find my work on the Ocula webpage, through selected auctions at Christie’s, online galleries such as Chan+hori and on my personal page. There is Artwork for sale, some is collected, while some is only for visual documentation.

Lugas Syllabus, Pinky Rainbow in the Beautiful Day, 2019. Acrylic on canvas. 200 x 150 cm. Image courtesy of the artist and Chan+Hori.

You are a very sociable person, far from the cliché of an introvert artist. Who are your best artist friends on the Indonesian art scene?

I have some art friends that often get together in my studio. My studio has an ‘Joglo’ cottage where we drink coffee and discuss art. If I tell one name the another will envy, yet they are all good friends, inspiring each other but also friendly rivals. We like to debate art..Sometimes I put little salt words on the debate…and it becomes never-ending, continuing up till late at night. I find that they are all smart but not as genius as me…so i leave them to go to sleep. Sometimes they stay until really late and in the morning..yesss I work from the morning, I heard a story about them from my studio assistant, while while they were all still sleeping. I really enjoy listening to stories while I’m painting and drinking coffee, especially when I feel like I’m the winner of night’s debate.

Lugas Syllabus, Better Land for a Better Home, 2019 – 2020. Acrylic, gold leaf, decorfin on linen. 150 x 200 cm. Collection of Mr. Aron Teo.

If you were to name one mentor who has inspired you in your life and path as an artist, who would that be?

It would be my father who taught me how to sketch and write. But I also like Goya as he can put his hidden message on his ordering work and he can show his feeling in many situations. In Indonesia I like S Sudjojono as he can show the true color of Indonesian Art from his era. But I want to be more…I want to talk about history, now and in the future, that’s why I put no border on my art.

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