Iriantine achieves her dreams in exhibition<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): A mere three years after her re-emergence as a
\nsculptor, Iriantine Karnaya is presenting her work in a solo
\nexhibition. Having entered the world of sculpture in 1969, the
\nyear 1996 is especially auspicious for her. The numbers 69-96 are
\nthe subtitle of the exhibition.<\/p>\n
Iriantine graduated from the Faculty of Fine Arts at the
\nBandung Institute of Technology (ITB) in 1975. In 1970, she
\nparticipated in a number of exhibitions in Bandung and Jakarta,
\nbut after an exhibition with other Bandung sculptors in Jakarta
\nin 1977 she disappeared from the scene.<\/p>\n
But she did not vanish entirely from the world of art. The
\nfollowing year she joined the Faculty of Architecture at the
\nUniversity of Indonesia, teaching fine arts. In 1986 she started
\nteaching sculpture at the Jakarta Arts Institute.<\/p>\n
Her work between 1977 and 1990 was limited to a mural and a
\nwall relief which she created for the central Bureau of
\nStatistics, completed in 1986 and 1988 respectively.<\/p>\n
But she never stopped bubbling with concepts and ideas. Thus
\nsince she re-emerged as an artist in 1990 she has not stopped
\nsculpting.<\/p>\n
\"Now I can realize the dreams I had during the years I was
\ndormant,\" she said.<\/p>\n
Characteristic of her style are pairs of morphic shapes
\ncomprising contracting textures. Many of her pieces, such as
\nCharisma, Lenggang Jakarta, Model, and Tiga Empat
\nGaris Sensus are compositions of organic forms and combinations
\nof various surface textures.<\/p>\n
\"Space is important in my compositions. That is why I often
\ncreate my sculptures in pairs. Once a couple is formed, spaces
\nemerge between them,\" she said.<\/p>\n
In Sejoli (Amorous Couple) she presents a pair of
\nabstract bird-like figures; it is not certain whether they are
\nmeant to represent a pair of eagles, penguins, quails or some
\nother type of bird. From the pointed beak, bold curvilinear lines
\nflows to the four corners. The backs of the figures are imprinted
\nwith regular patterns representing feathers.<\/p>\n
She gives the front of the figures a rough and irregular
\ntexture.<\/p>\n
\"I am lucky to be able to do this,\" she said, referring to the
\nspace between the two forms which comprise the composition
\nentitled Torso I. It is evident that not only the positive
\nelement of the sculptural form is important to this sculptor. She
\nis equally concerned with the negative space between and around
\nthe pieces in the creation of her works.<\/p>\n
In Ozone, the exploration of negative space is taken to a
\nfourth dimension. Two spheres, each treated with rich textures,
\nare rotated on their axes using a mechanical device. The result
\nis a changing composition of textures and negative space.<\/p>\n
Although her works tends to be abstract, Iriantine's works are
\nactually tremendously diverse. Her sculptures range from super-
\nrealistic representations of natural creatures, such as Sugar and
\nAnts and My Leaf, to the formal compositions consisting of
\ncylinders or prisms entitled Public Art. These visual
\ncompositions, created using painted metallic material with
\naccents of primary colors, seem very cold and anonymous, and are
\nundoubtedly Iriantine's weakest pieces.<\/p>\n
Her reliefs are much more interesting. These monochromatic
\nreliefs rely on light to form chiaroscuros which emphasize the
\nshapes they portray. Reliefs seem to be the form she has liked
\nbest since her studies at ITB. Two works, Him I & Him II, for
\nexample, date from that period. They suggest the humorous facial
\nmimics of clowns in a subtle manner. The third, Crescendo, is not
\na relief, but rather a composition of shapes made of a kind of
\nvolcanic rock that floats in water.<\/p>\n
This sculpture was supposed to be presented in water, but due
\nto various constraints this was judged unfeasible.<\/p>\n
Other reliefs, such as Bawang Bombay and Pisces, are derived
\nfrom Iriantine's daily life. One day, while she was cooking, she
\nsaw an interesting composition in a bulb of onions she had just
\ncut open. She set it aside, and after dinner she brought it to
\nher studio to create a relief based on that composition. The
\ninspiration for Pisces was the aquarium at the doctor's.<\/p>\n
\"What is amazing about Tine is that she is able to draw
\ninspiration from anything, anywhere. Even onions she can
\ntransform into sculpture!\" said sculptor Dolorosa Sinaga, dean of
\nthe Jakarta Arts Institute's Faculty of Fine Arts.<\/p>\n
Dolorosa was responsible for encouraging Iriantine to start
\nworking as a sculptor again. In 1993 they exhibited together.<\/p>\n
News about how the deterioration of the ozone layer on Dunia
\ndalam Berita became Iriantine's inspiration for Ozone. The next
\nmorning, she took her son's basketball and used it as a mold for
\nher sculpture.<\/p>\n
Iriantine's personal statement about Indonesian TKW, female
\nworkers sent abroad, is manifested in Lady in Waiting, a
\ncomposition consisting of a female figure in bronze standing in
\nfront of an painted iron tubular frame, on which two bed sheets,
\nalso in bronze, are being blown by the wind. This is a completely
\ndifferent style from her trademark textural pieces.<\/p>\n
\"Unlike most sculptors who tend to be concerned about their
\npersonal style, Tine is someone who places emphasis on form
\nrather than style. This is perhaps because she is open-minded,\"
\nDolorosa added.<\/p>\n
Indeed, Iriantine is a do-er. She does not like to trap
\nherself in the complications of conceptual or stylistic
\ndeliberation. Iriantine is very sensitive and observant in regard
\nto world issues. Therefore, as a sculptor, she prefers to create
\nspontaneously, intuitively.<\/p>\n
Having worked continuously for six years since her re-
\nemergence into the world of sculpture, Iriantine Karnaya
\npresented her creations in an exhibit opening last weekend at
\nGedung Pameran Seni Rupa \"Gambir\" on Jl. Medan Merdeka Timur No.
\n14, Central Jakarta. The exhibition will continue until Sept. 21.<\/p>",
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