Yunizar’s sculptures are interesting due to its ‘double-ness’ or two-sidedness. As viewers, we often tend to privilege a sculpture’s face and frontal viewpoint over any other orientation. While the expression of the subject from the front has a friendly and kindly countenance, we encounter a different countenance when moving to the sculpture’s rear. The sculpture’s rear displays a bland, comical projection instead. Art historian T.K Sabapathy describes this encounter with Yunizar’s sculpture as a meeting with a “doppelganger image, a figure with double-goer propensities”.
We are once again met with Yunizar’s comforting expressions of the every day, where his work highlights and celebrates the humour and even the beauty of the occurrences that we usually take for granted. It is appropriate to quote the National Gallery of Indonesia’s catalogue for the 2011 exhibition Ekspansi (Expansion) here:
“Within a capitalistic society, where everything is polished to a high sheen, seemingly advanced and artificial, this sort of simplicity, chidlikeness and naivete is a rare thing. Even the world of today’s children is a world so reminiscent of an adult world. However this does not mean that Yunizar’s works are not aesthetically pleasing. Rather, his creations refresh works within a sophisticated, digital aesthetic jungle; and even in a place replete with skillfully hand-made works.”
