JP\/20\/RIPE<\/p>\n
Exploring aspects of human re-creation<\/p>\n
Boudewijn Brands
\nContributor\/Yogyakarta<\/p>\n
In Indonesia, to become a mother is nothing that exceptional: The
\npopulation increased from about 70 million at Independence to an
\nestimated 220 million inhabitants now.<\/p>\n
When we look for marriage partners we usually look -- except
\nfor sex -- for familiarities. A partner from the same race, and
\nthe same social, intellectual and family background. A lot is
\ndetermined by convention, or \"as things are done usually\".<\/p>\n
Many mothers see the whole process as normal and natural and
\nwould not bother very much about it.<\/p>\n
In an ongoing exhibition at Bentara Budaya Yogyakarta,
\nhowever, two female artists from America present works in which
\nthey are \"harvesting meaning from motherhood\" and show this in
\nvery contemporary artworks.<\/p>\n
Both artists, Christine Cocca (from the U.S.) and Deborah
\nNolan (from Canada), after receiving their training at home, came
\nto Indonesia for further study. They both fell in love and
\nmarried Indonesians: Cocca with painter\/artist Entang Wiharso and
\nNolan with designer F. Akas Tarmaji. Both now live in Yogyakarta.<\/p>\n
Expatriate readers of this paper, when interacting actively
\nwith Indonesian society, privately or in their work, will have
\nobserved that things done usually at home are sometimes done
\ndifferently in Indonesia.<\/p>\n
That is to put it mildly. Most expatriates will also go home
\nfrom time to time and eventually return home or move to another
\nlocation. There are even those who build their own \"Western\"
\nlittle world.<\/p>\n
This exhibition is important for three reasons: First, it
\nconveys intensely the feelings that come with giving up life in
\none's homeland, with loving someone and taking the consequences.<\/p>\n
Second, the artists, as mothers, express what happens when
\nthey have a baby -- especially important for first-time mothers.
\nThe third is that a larger public can learn to look at the works
\nand understand them through the excellently written catalog.<\/p>\n
Probably relatively easy to understand but nevertheless
\nimposing is Nolan's How My Heart Was Taken Over. It consists of
\nnine transparent (glass-like) resin bodies taken from a cast in
\nher eighth month of pregnancy. Inside, a plant is growing.<\/p>\n
Nolan: \"This piece deals with the indescribable process of
\nbeing taken over by love. It refers to the physical aspects of a
\nbaby taking over your body, sharing your body, becoming part of
\nyour body. It also represents the overwhelming feeling of love
\nthat takes over a mother throughout pregnancy and in the days and
\nmonths after her child is born\".<\/p>\n
In Cocca's I want to Give Everything I Have (to you) one can
\nsee two, partly transparent figures seated opposite each other on
\ngrass, a male and a female figure. However, there are ants that
\ndismantle the woman piece by piece.<\/p>\n
Cocca: This refers to \"some bad aspects of motherhood and
\nmarried life and also negative aspects of Indonesian group
\nsociety. But more important to me, it highlights the spiritual
\nvalue of mundane, repetitive tasks that make up the work of a
\nmother.\"<\/p>\n
\"One of the most profound changes motherhood has wrought on my
\nlife is an appreciation of and ability to move through
\nfrustration to joy\".<\/p>\n
These are only two of the 10 works exhibited. In the catalog,
\nyou will also find the artists explaining why they use specific
\nmaterials or techniques or images. Cocca uses bear heads in her
\nHunting for Meaning.<\/p>\n
A bear because it is a predator as well as an animal known for
\nits motherly instincts. The heads are posed like mountains,
\ngrounded and monumental. It also reflects internal dialog: the
\nmother does \" ... what must be done, caring for oneself and one's
\nyoung, and not 'thinking\" too much'\".<\/p>\n
The bear heads are made of beeswax, pigment and carbon with
\nthe beeswax being the most vulnerable material in spite of
\nexpressing a strong animal.<\/p>\n
The Hand That Feeds is a celebration of motherhood, beauty,
\ndesire to give, love taking over your life.<\/p>\n
Cocca: \"The work contains references to nursing, milky breasts
\n-- the physical connection between mother and child. The
\nfragrant flowers, which are also used in funerals, have been
\npreserved in wax and are meant to symbolize the beauty and
\nfragility of life and of a mother's desire to preserve and
\nprotect and celebrate\/remember tiny moments.<\/p>\n
\"The flowers, especially, refer to memory for me -- how I want
\nto hold on to these fleeting moments of awe when you look at your
\nchild's hand stroking you or their gaze that you are sure you
\nwill never forget, before sinking into unconsciousness.<\/p>\n
\"There is this desire to preserve these brief moments, these
\nintangible experiences that make you gasp with pure love and then
\nthe fear of protecting the source of that pure love\".<\/p>\n
What more is there to say?<\/p>\n
in box<\/p>\n
RIPE: harvesting meaning from motherhood
\nby Christine Cocca and Deborah Nolan
\nat Bentara Budaya Yogyakarta
\nJl. Suroto 2
\nYogyakarta<\/p>\n
through July 18
\nwebsite: www.ripeexhibition.com<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/jp20ripe-1447899208",
"image": ""
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"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
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