During this time, many stories about the painting of Queen Kidul, as much as the accompanying condiments, whether coming from the artist or makelarnya. Whether for popularity or to boost the price. Not impossible because, as a source of inspiration, Queen Kidul comes from the unseen world. Myth, the figure can make a plague for those who act carelessly. The fate of the painter is often tragic.
For example, the painting of Ratu Kidul by Basuki Abdullah who was sacrificed in a room at Pelabuhan Ratu Hotel, West Java. Several times he did paint with the same subject. Finally, before the naturalist painter's maestro was killed at his home in Jakarta, he reportedly came to Parangtritis Beach, Yogyakarta. Solo painter, Didik Suardi, also once painted the Queen of South. However, a week after the painting was finished, Didik died (2001). Suhardjo (1941-1998), also Solo painter, fared the same. In a state of sickness he finished painting Queen of South, but not long after he closed his eyes.
Fortunately, artists now have no syndrome or fear of "qualities" against the sacred figure. However, Queen Kidul still inspires to be visualized. Some take a rational approach, some are motivated through the mystical world, some are living it as part of spiritualism.
In the midst of controversy about the phenomenon of Queen Kidul, the art exhibition "Queen of the Kidul and Dunia Myth" is special. The exhibition, attended by 18 artists from Solo and Yogyakarta, shows a number of vision and interpretations of independent artists; and could be an expression of their subconscious. The works broaden the horizon of the mythical world (Queen of the South), with consequences beyond the usual aesthetic limitations.
Lucia Hartini (51), surrealist painter who is more than five years vacuum does not paint, for example, feel "called" and enthusiastic to follow. The reason, in recent years he admitted intimate with the phenomenon. That said, there are some "magical" events that accompany the process of his work. The result, Queen Kidul is the figure of a young woman was floating in a green-colored clothing, in a long whirlpool and blue ocean waves and coral reef arrangement created from soft and detailed hues-Hartini typical style.
Sensual, horror
It is different from the late Suhardjo, Herri Sudjarwanto, Sumantri, Totok Buchori, Ki Gedhe Solo, also an anonymous painting collection of Wilono Edy Kusumo, all in a naturalist style that tends to strengthen the image of people about Queen Kidul during this time. Herri presents beautiful women crowned; impressed horror because there was a turtle appeared from his legs, flanked by two large red-eyed snakes.
"Nyi Ratu Kidul" in the eyes of Sumantri is a figure of beautiful, sensual, long-haired woman with a busted chest. "The glint of his eyes and his body implies inevitable lust," Sumantri said. A similar vision is seen in the work of Ki Gedhe Solo, "Transcendental". Surprisingly, the man who works as an alternative healer chose Aria Giovanni, a porn star from the US, as a model because it is considered to represent the image of Queen Kidul. "I chose it after watching thousands of beautiful women files," he said.
Instead, Totok Buchori imaged the Queen of South as the face of a shady palace girl, emerging from behind a window. Meanwhile, on "I Come" by VA Sudiro (71) -which describes a pair of men-women dressed in Javanese facing the beach under a violet sky-we capture the surrealism impressions of Kejawen.
The myth of Queen Kidul can be interpreted freely. Dyah Yulianti identifies Ratu Kidul as mother and source of life. "The Realm of Spirit" was startling; an expressiveistic painting style featuring female figures amid gebyuran blue and white paint. The same free interpretation we get on Teddy D, "Greet South Stars": a child grazes a star in the midst of "the moon" in the sky.
The installation works of Ivan Sagito, "Collective Irrationality"; line 11 bronze hair bracelets, showing the myths in society is the result of irrational thoughts together. The Nasirun offers us the "face" of Queen Kidul through 13 small panels by utilizing a porous teak frame. An experimental work that feels subtle about the controversial subject.
The painting of "Sampeyan Dalem Ingkang Sinuwun" is the interpretation of Djoko Pekik (73) that the overemphasizing attitude of alit subjects to the king has been deliberately built through the myth of marriage of the king of Java and Ratu Kidul. It is nothing but a ruse to establish the authority and power of the king. The funny thing is, in this rather caricature painting, the king is Chuck himself.