Equally important, Sidik’s work occupied a nuanced position between the modern and traditional world. He achieved this by allowing elements from traditional art forms to influence his abstract compositions. These elements included batik’s wax-resist method, as well as visual forms reminiscent of tikar weavings and Islamic calligraphy. With such features, his works drew profound connections between universal geometric shapes and his Indonesian identity.
In 1947, Sidik joined the social realist group Sanggar Pelukis Rakyat (The People’s Painters) under the tutelage of Indonesian masters Hendra Gunawan (1918-1983). With their emphasis on making art for the people, the group influenced his vision to create works that would look beautiful alongside everyday objects. Today, his works are collected by key Southeast Asian art institutions, including the National Gallery Indonesia, National Gallery Singapore, Neka Art Museum and the OHD Museum.
In 1947, Sidik joined the social realist group Sanggar Pelukis Rakyat (The People’s Painters) under the tutelage of Indonesian masters Hendra Gunawan (1918-1983). With their emphasis on making art for the people, the group influenced his vision to create works that would look beautiful alongside everyday objects. Today, his works are collected by key Southeast Asian art institutions, including the National Gallery Indonesia, National Gallery Singapore, Neka Art Museum and the OHD Museum.