Ratmini exhibit: Revelations of her identity<\/p>\n
Text and photos by Carla Bianpoen<\/p>\n
JAKARTA (JP): At 70, Ratmini has finally stepped out of the
\nshadow of her late husband. At least, this is the first reaction
\none has to an initiation to her retrospective exhibition, which
\nopens today at Galeri Cipta II, Taman Ismail Marzuki in Central
\nJakarta.<\/p>\n
In fact, the more than 70 pieces that manifest Ratmini's
\nartistic creativity, reveal how her activities in art were
\nclosely linked to her role as a wife and mother. A gift to
\nRatmini on her 70th birthday, the exhibition also reflects the
\nwish of her three daughters that Ratmini be known as a person in
\nher own right. A diary featuring several of her works is
\nsponsored by The Jakarta Post, to mark the opening of the
\nexhibition today.<\/p>\n
For Ratmini, the question of women's rights has evidently
\nnever been a dominant issue. Family was her priority. She was
\nalways by her husband's side. Whether it was as a member of the
\nFord Foundation Trustees, as a speaker or participant at
\nseminars, as an ambassador in the U.S. and Japan, or as an active
\nmember of society, she was with him. She was also a perfect
\nmother in the eyes of her daughters.<\/p>\n
\"To care and be my friend, that has probably been the greatest
\nimpact of Mom in my life,\" Galuh, her youngest daughter, says.<\/p>\n
Known as a grassroots worker in the nation's development, like
\nher two sisters, Galuh further asserts that \"from her we learned
\nhow to be fiercely practical, independent and creative\".<\/p>\n
Nana, Ratmini's eldest daughter, sees her mother as an example
\nto follow.<\/p>\n
\"Through the example of her life, my mother has shown that it
\nis possible for a woman to put the happiness of a spouse and
\nchildren first, without loosing her identity,\" Nana says in a
\npoetic tribute to her mother, which she wrote for this occasion.<\/p>\n
Wondering whether she could ever achieve just half of what her
\nmother has, Isna, Ratmini's second daughter, sees her mother as a
\nwoman who was a perfect spouse, an ideal mother, and a valuable
\nmember of society.<\/p>\n
Nevertheless, Ratmini disclosed in a personal interview, at
\ntimes she felt overwhelmed by her activities as a wife and a
\nmother. At such moments she thought, \"What about me, is there any
\nspace left for myself?\"<\/p>\n
Intellectually advanced and used to having a job outside the
\ndomestic domain, dealing with the household alone was not
\nfulfilling her personal aspirations.<\/p>\n
\"I did not want to be a housewife only,\" she explains.<\/p>\n
After a miscarriage, she discontinued her teaching profession
\nto concentrate on having a family. But Ratmini, who is a
\nspecialist of etiquette, would never make a great fuss to claim
\nher rights. Instead she quietly looked for loopholes.<\/p>\n
She had taken to painting, a hobby that was triggered in her
\nyounger days, when she was selected to go to the Netherlands for
\na teachers training course for drawing. When Soedjatmoko, her
\nhusband, was posted as an ambassador in Washington, D.C. from
\n1968 to 1971, she joined a painting course at the Corcoran.<\/p>\n
Painting became her tool to further her personal aspirations.
\nHer social interests kept her from being selfish, so she shared
\nthis with other women who were experiencing the same constraints
\nand had the same aspirations. They gathered in what they called
\nGroup Sembilan, now well known and appreciated as a group where
\nprofessional and semi-professional artists work together in a
\nunique competition-free atmosphere.<\/p>\n
The art<\/p>\n
It is no surprise then to find a parallel between the course
\nof Ratmini's artistic creativity and the course of her personal
\nidentity. Unlike her later works, her early paintings show
\nsurprisingly strong lines and stark contrasts. Monstera, a
\nspontaneous abstraction of the Monstera leaves that beautify her
\ngarden, seems to reflect the enthusiasm of a free and youthful
\nvitality, while Persepolis, which has forceful lines and a
\ncombination of stark colors, is telling of strong determination.<\/p>\n
Further artistic experiments show vibrant colors and
\nimpressionistic renditions. A cubist-style arrangement of bottles
\nin green shows bold lines; a scenic view of the East River, New
\nYork, against a red sky and white rooftops, reveals an atmosphere
\nat nightfall; the gates of a mosque in Saudi Arabia, and a view
\nof pilgrims' white tents on the slopes of mountains in the holy
\nland elucidate her sentiments of spiritual awe and peace.<\/p>\n
Rarely shown in recent exhibitions, several of these early
\nworks are among the best in the collection.<\/p>\n
\"My paintings are a kind of travel log,\" she says, pointing
\nout that while some people use their diaries, she uses a brush.<\/p>\n
Ratmini's paintings also mirror her interest in the various
\ncountries she has visited. A painting of a Buddha statue in Nepal
\ndenotes her surprise at the difference between the Nepalese and
\nthe Indonesian rendition of Buddha. A visit to South Africa
\nresulted in works focusing on African women. Her seven-year stay
\nin Japan is marked by many paintings made with the Japanese
\nbrush. Her later works, mostly realistic renditions, indicate
\nimpeded movement.<\/p>\n
Ratmini reveals that her best artistic period was the 1970 to
\n1980 period.<\/p>\n
\"I was young and strong, and ambitious enough to think that I
\ncould combine family, painting and a career,\" she says.<\/p>\n
Daily realities may have slowed down part of her ambitions,
\nbut she actually never gave up moving. She actively takes part in
\nGroup Sembilan exhibitions, trying hard to adjust her hand to yet
\nanother style.<\/p>\n
\"I don't consider myself a professional painter,\" she says.<\/p>\n
But as the exhibition shows, many of her early paintings show
\na substantial professionalism. Although she laments that she has
\nbeen unable to move her hand the specific way required for the
\nJapanese brush, her friends are certain she will go on trying. At
\nthis point in her life, Ratmini remains firm in pursuing her
\naspirations.<\/p>\n
\"I have to go to where I like my own paintings,\" she says,
\nindicating that action goes on.<\/p>\n
The exhibition will run until Nov. 20.<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/ratmini-exhibit-revelations-of-her-identity-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }