| ... ketika langit berubah merah dari kebiruan malam telah ku temukan wajah pagi di antara gelombang pasang samudra indonesia Dan ketika perahuku berlabuh izinkan aku untuk sejenak menikmati gurihnya ikan-ikan tangkapan di jaring jala sebagai sarapan pagi anak dan istri. (Tiko Hamzah 1992) | ... When sky changed red from the blue of nigth was found by me the face sunrise among the wave of the ocean indonesia And when my boat was stayed permitted me to more enjoyed deliciously piquant fishes the arrest in the net as breakfast in the morning with the child and the wife. (Tiko Hamzah 1992) |
... Guru Seni Rupa tidak harus seorang seniman. Namun, akan lebih baik bila sang guru tidak hanya menguasai teori tapi juga mampu manciptakan karya seni yang digeluti dan di ajarkan kepada murid-muridnya...
(H. A. Hudan Dardiri - budayawan mantan Rektor UNIPA- ADIBUANASURABAYA)... The teacher the Fine Arts must not an artist. However, will be better when the teacher did not only control the theory but also well-off manciptakan the work of art that was involved in and in taught to his pupils...(H. A. Hudan Dardiri - the culture critic the former Rector UNIPA- ADIBUANASURABAYA)
... mempersembahkan sejumlah karyanya yang dibuat sejak1979 hingga sekarang. Pastel, lukisan cat minyak, aquarel, dengan berbagai aliran yang gayanya yang saya nilai"surrealise naif" menampilkan kesegaran masa anak - anak. Objeknya pada benda - benda dan orang - orang tetap menonjol, diperkuat tekanan garis hitam, tampak jelas kilas pandang. bentuknya sederhana, sapuan warnanya hidup, kesemuanya menunjukan karya pelukis besar ...
(Jacky moreau - Direktur Pusat Kebudayaan Perancis Surabaya)... presented several of his works that were made sejak1979 till now. Pastel, the oil paint painting, aquarel, with various currents that his style that I nilai"surrealise naive put forward the freshness of the child's period - the child. His object to the object - the object and the person - the person stayed prominent, was reinforced by the black line pressure, clear appearance trapped the look. His form was simple, sapuan his colour lived, all of it menunjukan the work of the big painter...
(Jacky moreau - Director Centre of Culture French Surabaya)
... Karya-karya yang sur-realistis, terasa masih merupakan experimentasi. Dan yang kurang baik, ada jugayang mulai baik. yang diberi judul : Satwa, yang melukiskan dua ekor binatang yang tanduknya seperti tanduk kerbau, namun tubuhnya seperti kijang. Dikatakan berhasil karena palet warnanya kena, polanya agak surrealistis ... (Sudarmaji- kritikus seni rupa INDONESIA)
... Works that sur-realistic, was felt still was experimentasi. And that was not better, there is jugayang began baik. that was given by the title: the Fauna, that described two animals that his horns like water buffalo horns, but his body like deer. Said was successful because of his colour palette be hit by, his pattern rather surrealistis...
(Sudarmaji- the Indonesian fine arts critic)
. Potensi yang lain dari Tiko, dia selalu "resah" untuk menemukan dan memperkembangkan jati sendiri. Itu dikenal antara lain di keberania dia di tak berkarpet eksperimen, baik di penggunaan bahan, tema maupun ciri-ciri melukisnya. Dari lukisan Tiko saya lihat sejak 1984, saya dikesankan di surealistik dia, termasuk "muka" (1985), "tentang saya dan Salvador Dali" (1987). Dia dikenal akrap dan lengket dengan tema bahwa di garapnya.Di samping bahwa di visualisasinya, dia tidak terbelenggu dengan gaya surrealisme Dali bahwa akhir ini banyak di pelukis muda Indonesia yang runcing... (Subroto SM-Dosen ISI Yogyakarta, Pelukis).. The other potential from Tiko, he was always "restless" to find and develop teak himself. That was visible in part in keberania him in ber the experiment, both in the use of the material, the theme and his painting feature. From Tiko paintings was observed by me since 1984, I was impressed in surealistik him, including the "faces" (1985), "about me and Salvador Dali" (1987). He was visible akrap and sticky with themes that in garapnya.Is that in his visualisation, he was not shackled with the style of Dali surrealism that these ends many in pointed young Indonesian painters... (Subroto SM-lecture the ISI the Yogyakarta , Painter)
... Sejak semula saya selalu tertarik dengan karya-karya linier hitam putihnya baik yang pendek maupun yang panjang-maksud saya karya itu diwadahi bidang yang persegi begitu saja, tetapi ada persegi panjang sekali begitu! Karya-karya itu ada yang berupa obyek setempat perahu-perahu di Gresik, ada pula yang berupa design imaginative berupa tarian rerumputan, tarian ikan-ikan di laut. Sulit bagi saya untuk menebak apakah ini naratif prosais apa naratif poetis. Namun dari celah itu saya dapat membaca bahwa saudara Tiko sedang dirundung kegundahan yang berat ... (Particius B. Hantana- Dosen pembimbing)
... From the beginning I always was attracted by linear works of certainty was good that was short and that long-intention I the work diwadahi the field that persegi just like that, but was persegi very long like that! The works there are those that took the form of the local object of boats in Gresik, there is also that take the form of design imaginative took the form of the field dance, the dance of fish in sea. Was difficult for me to guess whether this the prosaic narrative whether the narrative poetis. However from the gap I could read that xSindirect... (Particius B. Hantana-former the guide's Lecturer)
... dengan sendirinya, Tiko Hamzah mempunyai pendirian, tekad, dan kemampuan. Andaikata tidak, tentu dia tentu tidak akan melukis. Juga andaikata tidak, tentu dia tidak akan mengadakan pameran retrospeksi. Bagi pelukis, pameran adalah salah satu jalan untuk berbagai kemungkinan. Salah satu kemungkinan bagi pelukis adalah diterima sebagai pelukis tentu banyak pendirian, tekat, dan kemampuan pelukis itu sendiri...
(Budi Darma-budayawan, mantan rektor IKIP SURABAYA)automatically, Tiko Hamzah had the founding, the determination, and the capacity. Supposing that not, certainly he certainly will not depict. Also supposing that not, certainly he will not hold the exhibition of retrospection. For the painter, the exhibition was one of the roads for various possibilities. One of the possibilities for the painter was to be accepted as the painter certainly many foundings, the determination, and the painter's capacity personally...
(Budi Darma-culture critic, the former rectorIKIP Surabaya)Sepertinya ada dua dunia yang dialaminya ... antara "Guru" dan "Pelukis"? tetapi itulah nyatanya ...
... Begitu pentingkah hal itu di perdebatkan? mengapa hingga Tiko dengan semangat membeludak perlu menyatakan bahwa saya akan menjadi guru dan pelukis.Emangnya kenapa menyatakan bahwa saya akan menjadi Guru dan Pelukis. Emangnya kenapa kalau Guru yang menjadi pelukis? dan begitu pentingkah persoalan itu hingga menjadi pertentangan dasyat di dalam bathin Tiko? bukankah ada kesan mendramatisir persoalan di dalam mempertentangkan antara dua dunia itu? mengapa harus begitu sebuah apologi bahwa banyak juga orang yang menjadi pelukis dan sekaligus bekerja di bidang lain? ...
... Sebab ada subyektivitas di sana. Apapun pilihan orang, sesepeleh apapun itu, bagi seseorang itu adalah soal dirinya dan soal hidupnya. Di sini kita harus memberikan rasa hormat pada setiap orang, hormat yang azasi ...
(Hotman M Siahaan-Dosen FISIP UNAIR-Budayawan)
like a had two worlds that were experienced by him... between the "Teacher" and the "Painter"? But so in fact... ... Like that was that important in debated? Why until Tiko with the spirit exploded must state that I will become the teacher and pelukis.Emang him why stated that I will become the Teacher and the Painter. Emangnya why if the Teacher who became the painter? And like that was the problem important until becoming the conflict dasyat in the Tiko heart? Not had the impression dramatised the problem inside opposed between two worlds? Why must like that an apology that quite a few people who became the painter and at the same time working in the other field? ... ... Because of having subjectivity there. Anything the choice of the person, sesepeleh anything that, for someone that was the matter himself and the matter of his life. Here we must give respect to anyone, the basic honour...
(Hotman M. Siahaan-Lecture of FISIP UNAIR, Culture Critic)
Curriculum Vitae TIKO HAMZAHBergabung Sanggar Sangkakala bersama Setyoko dan Teater 13 Verdom
1979
bersama Soetanto Soepiadhy
1980-1983
Mendirikan Sanggar Lentera, pameran bersama kelompok Lima Yogyakarta, beberapa kali penghargaan dari pemerintah Gresik, mendapat bea siswa Supersemar pameran studi di Gema (Gelanggang Mahasiswa IKIP Surabaya), pameran keliling jatim, pameran tunggal I di Art Centre Denpasar Bali dan berdomisili Ubud-bali.1984-1987
Pameran tunggal II di sanggar seni IKIP Surabaya, pameran sketsa sanggar Sangkakala di DKS, pameran Dies IKIP Surabaya ke 20, melanglangbuana ke yogya dan Jakarta, beberapa kali pameran bersama di Surabaya, Pameran tunggal III di pusat kebudayaan Perancis. Menjabat ka. Laboratorium senirupa IKIP PGRI Surabaya 2 periode.
1987-1989
Pameran sewindu Sanggar Lentera, pameran Trinale di Bali, pameran kompetisi di ITB Bandung dalam rangka peringatan Kemerdekaan Perancis, ketua panitia Genre-89 di IKIP PGRI Surabaya, pameran kidungan Malang-Surabaya.1990-1992
Pameran pembuka tahun 1990 dan 1991 Surabaya-Malang, pameran Alumni SR IKIP Surabaya, pameran 45 pelukis Surabaya dan Ubud Bali, pameran Sketsa di Taman Budaya Surabaya, Estetika Merah Putih Dewan Kesenian Surabaya, pameran Retrospeksi 1979-1992 di Centre Cultural France Surabaya.
1993-1997
Pameran Pekan Wayang di Jakarta, pameran Pelukis Muda Surabaya di Surabaya-Solo-Jakarta, Menjadi Ketua Jurusan Seni Rupa IKIP PGRI Surabaya 2 periode, pameran berdua 'Oil-Pastels' dengan Setyoko, pameran Dosen Seni Rupa se-Indonesia di Taman Budaya Yogyakarta, menjadi Presedium Dewan Kesenian Surabaya, pameran bersama di Hyat Regency Surabaya, pameran berlima dengan Setyoko, Salamun Kaulam, Ivan Hariyanto dan Satya Budhi, pameran "Harga Diri" dengan Mas Dibyo, Heri Suyanto.1997-2003
Menjabat ka. Laboratorium Seni Rupa Unipa Surabaya, pameran bersama Harjiman, Nunung Bachtiar, Her Rusmadi dll dalam rangka ulang tahun hotel Radisson Surabaya, pameran Multi Media (slide) untuk pagelaran Teater dalam Festival Seni Surabaya di THR Mall Surabaya, pameran Gerakan Reformasi di halaman Balai Pemuda, pameran Angkatan 80an Pelukis Surabaya di Galeri Surabaya, pameran 50an pelukis jawa timur di Graha Semen Gresik, pameran di GOR Sidoarjo, pameran bersama di Gedung Merah-Putih Balai Pemuda, Menjadi Dosen luar biasa di STIKOM dan COMMIT (Jawa Pos Education Centre).2004-2008
Menjabat sebagai pengurus DPD BPSMI Jawa Timur periode ke 6 sejak 1991, Mendapat anugrah pangkat akademik lektor, mendirikan galeri-laboratorium-perpustakaan, sebagai pusat informasi dan studi kesenian di GRESIK.Pameran bersama di Sangrola Hotel Surabaya, Menjadi team juri kesenian di kabupaten Gresik, Menjadi team assesor Dewan Pendidikan kabupaten Gresik, Mendirikan sanggar seni lukis anak-anak di Petrokimia, SDNU1 Terate, SD YIMI Gresik, Menjadi tutor seni lukis dan disain grafis di SMA Muhammadiyah 1, SMANU 1 ( SMANUSA) dan LBB 'Little-Hand' Gresik.....
Gathered Sanggar Sangkakala with Setyoko and the Theatre 13 of Verdom with Soetanto Soepiadhy
1980-1983
Mendirikan Sanggar Lentera, the exhibition with the group Lima Yogyakarta, several times the appreciation from the Gresik government, got the student's duty Supersemar the exhibition of the study in the Echo (the Mahasiswa Arena IKIP Surabaya), the East Java travelling exhibition, the single I exhibition in Art Centre Denpasar Bali and domiciled Ubud-Bali.
1984-1987
The single exhibition Ii in the art gallery of IKIP Surabaya, the exhibition of the sketch of the Sangkakala studio in DKS, the exhibition was frozen IKIP Surabaya to 20, went overseas to yogya and Jakarta, several times the exhibition together in Surabaya, Pameran single III in the centre of French culture. Held the office of the train. The fine arts laboratory of IKIP PGRI Surabaya 2 periods.
1987-1989
The exhibition a Lentera Studio decades, the Trinale exhibition in Bali, the exhibition of the competition in ITB Bandung in the French Independence warning, the chairman of the committee Genre-89 in IKIP PGRI Surabaya, the exhibition kidungan Malang-Surabaya.
1990-1992
The exhibition of the opener in 1990 and 1991 Surabaya-Malang, the exhibition of the Alumnus SR IKIP Surabaya, the exhibition 45The Surabaya painter and Ubud Bali, the exhibition of the Sketch in the Garden of Budaya Surabaya, Estetika Merah Putih Dewan Kesenian Surabaya, the exhibition of Retrospection 1979-1992 in Centre Cultural France Surabaya.
1993-1997
The exhibition of the Wayang in Jakarta, the exhibition of the Painter of Muda Surabaya in Surabaya-Solo-Jakarta, Menjadi Chairman Jurusan Seni Rupa IKIP PGRI Surabaya 2 periods, the exhibition berdua 'Oil-Pastels' with Setyoko, the exhibition of the Lecturer the Fine Arts more than one Indonesia in the Garden of Budaya Yogyakarta, became Presedium Dewan Kesenian Surabaya, the exhibition together in Hyat Regency Surabaya, the exhibition of the five with Setyoko, Salamun Kaulam, Ivan Hariyanto and Satya Budhi, the exhibition of the "Self-esteem" with Mas Dibyo, Heri Suyanto.
1997-2002
Held the office of the train. The Fine Arts laboratory of Unipa Surabaya, the exhibition with Harjiman, Nunung Bachtiar, Her Rusmadi etc. in the birthday of the hotel of Radisson Surabaya, the exhibition Multi the Media (slide) for the performance of the Theatre in the Surabaya Art Festival in THR Mall Surabaya, the exhibition of the Movement of Reform in the page of the youth Hall, the exhibition of the Generation 80an the Surabaya Painter in the Surabaya Gallery, the exhibition 50an the East Java painter in the GRAHA SEMEN Gresik ,the exhibition in GOR Sidoarjo, the exhibition together in the Building of Merah-Putih at Balai Pemuda, Lecture extraordinary in STIKOM and COMMIT (Javanese Pos Education Centre).
2002-2008
the office of the management DPD BPSMI East Java the period to 6 since 1991, got the academic rank gift the 'pangkat LEKTOR', erected gallery-laboratory-library, as the centre of information and the study of art in Gresik.Group exhibition at Sangrila Hotel Surabaya,To the team of the artistic jury in the Gresik regency, became the team assesor the Pendidikan Council the Gresik regency, established the studio depicted children in the Petrochemical, SDNU 1 of Terate, SD YIMI Gresik, became the painting tutor and graphic art in the Muhammadiyah SENIOR HIGH SCHOOL, Nahdatul Ulama1 SENIOR HIGH SCHOOL( SMANUSA) and LBB' Little-Hand' Gresik.
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