Scluptor Ibnu Nurwanto reaches artistic climax<\/p>\n
Carla Bianpoen, Contributor\/Jakarta<\/p>\n
While sculptures sometimes appear alien and distant from human
\nlife, in the case of sculptor Ibnu Nurwanto, the opposite is
\ntrue. His works come forth from a deep personal compassion mixed
\nwith furor at the woeful situation around him. None of his
\nsculptures radiate happiness. But the shapes, which reflect the
\ngrain of the wood in such a variety of modes, are phenomenal.<\/p>\n
The 30 sculptures now on show at Galeri 678 attest to the
\nturbulence raging within the inner depths of the artist. This is
\na man who detests hypocrisy, curses poverty and shuns exhibitions
\nand meetings with his contemporaries for fear of being
\n\"contaminated\".<\/p>\n
Fish bones, which for Ibnu represent poverty and
\nmarginalization, are a favorite subject. Because of its peculiar
\nsmell, and its low cost, ikan asin (salted dried fish) is
\nidentified with the poor and marginalized, while the middle class
\nhas reinvented ikan asin as a gourmet item. Duri, a sculpture of
\nfish bones measuring 33 by 47 by 17 centimeters is crafted in
\nmahogany.<\/p>\n
Indeed, although Nurwanto's sculptures may speak of anger and
\ndiscontent -- and bones for him symbolize slaughter besides
\npoverty -- his compassion seems to have determined the shapes of
\nhis works.<\/p>\n
In general, Nurwanto's sculptures have a high esthetic value.
\nEven when he is bursting with biting sarcasm, the pleasing
\nappearance of his works lends his emotions decency.<\/p>\n
In Istri Suami the reverse of the usual Indonesian term suami-
\nisteri (husband-wife), where the man is first mentioned,
\nNurwanto's title alone expresses his difficulty in accepting
\nwomen's increasing demands for equal rights and opportunities.<\/p>\n
In fact, he seems to think that women are overpowering men, at
\nleast that is the impression that one gets from his sculpture, in
\nwhich a large woman lies next to a shrinking man. Likewise, in
\nWanita Karir (career woman), a near-emaciated, unattractive
\nfigure in pants is depicted.<\/p>\n
On the other hand, Nurwanto also shows pity for women who are
\nin fear. In his sculpture titled Gamang, Fear, a woman in a nice
\ndress sits on a bench with her legs and mouth open. Her face is
\nturned upward, as though she is crying out to the heavens. His
\nsympathy here unfolds in the smooth folds of the dress. Korban
\n(victim) is another sculpture depicting a woman, this time a
\nvictim of violence. It speaks of the general situation, in which
\na woman's safety is not guaranteed, particularly in areas of
\narmed conflict.<\/p>\n
As an artist who tries to capture the lives of the people
\naround him, Nurwanto has an eye for what is within and also
\noutside his own living quarters. Politics and politicking, the
\nturbulence beneath a smooth surface, it's all documented in
\nsculptures that lean more toward abstraction. Arus Bawah -- 90 by
\n54 by 20 cms -- can be perceived as a reflection of those
\nundercurrents, but can also be perceived as an abstracted
\nrepresentation of the grass roots.<\/p>\n
Abstractions of this kind are also found in the sculpture
\ntitled Senja, depicting the twilight years of life, with a crown
\nthat starts at the abstracted figure's lowest end and 'climbing'
\nuntil over his head.<\/p>\n
Nurwanto also makes works that are semi-realistic, like in
\nBeradu Birahi, in which a woman tops the man in an enamored
\nthrust.<\/p>\n
Nurwanto was a student of the Jakarta art school, but dropped
\nout after a year because he could not stand the teachers who
\nacted like they \"knew it all\". \"I want to be myself,\" he said.
\nSelf taught, he proceeded to making sculptures, initially using
\nkayu nangka (wood from the jackfruit tree) for its grain and
\naffordable price.<\/p>\n
After 25 years of working in wood, Ibnu Nurwanto has ventured
\ninto bronze as a medium. While wooden sculptures are one-offs,
\nbronze allows for several editions of the one sculpture.<\/p>\n
This is the climax of my artistic career, he says, referring
\nto the only bronze amid his wooden sculptures, a reclining female
\nfigure in a state of sexual excitement, named Orgasme.<\/p>\n
In hindsight, however, it may be his first and last bronze
\nsculpture. I've had it, he said. I got allergies all over. In
\naddition, in the time it took for the bronze to firm up, he could
\nhave carved a wood sculpture, he said.<\/p>\n
The only regrettable feature of the exhibition is that it has
\nno decent catalog worthy of the works on display.<\/p>\n
Orgasme, Solo exhibition of sculptures, Ibnu Nurwanto, until 29
\nAug. 2004, Galir 678, Jl. Kemang Raya 32, Jakarta, 071792164-
\n7196007<\/p>",
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