Yunizar distances his art from tumultuous politicized events, choosing instead to develop and sharpen his visual interests and approaches and expanding his aesthetics. Delving into areas that are by-passed by art largely focused on societal and civic issues, Yunizar uses his work to reaffirm the importance of the everyday that he believes is just as relevant. With his personal views of the mundane and his unique aesthetic sense, Yunizar’s work brings forth a purity that connects us with our childhood experiences: drawing on walls, wherever and whenever, despite our parent’s restrictions. As an artist, Yunizar prioritizes simplicity, straightness, without embellishment and without burdening us with messages of morality, or of social or political issues.
A similar subject matter was previously encountered in Yunizar’s earlier work in 1997 entitled Berdasi Merah (Wearing a Red Tie). However, Berdasi Merah was created in completely different style, as he leaned towards abstraction and darker colour palettes, creating a heavy and sombre atmosphere.
While the central figure in both paintings remains the same, Yunizar utilises bright colours such as reds and yellows in this 2023 version and frames his figure with the cheerful chaotic background that we have begun to associate readily with Yunizar’s works.
Yunizar’s inspiration from the everyday can once again be seen, this time by looking at the edges of his canvas. Many of Yunizar’s works have decorations around the edges, and the inspiration comes from the decoration on the edge of a kain or textile which he encountered frequently while growing up in Sumatra.