JP/18/REDY

JP/18/REDY

Redy's sculpture embodies passion and emotion

Bambang Widjarnarko
Contributor/Jakarta

Some philosophers believe there is only one thing unending beyond
death and the inconceivable infiniteness of the universe.

It is, they say, the never-ending depths of desire (or
passion) that is intrinsic to humankind. The desire for control
over one's surroundings produces a sense of "triumph" in people
and determines our views about everything "good" in both the
outside world and within ourselves, guiding our actions.

It has been known for some time that there is no such thing as
an absolute or objective "truth". This skepticism emerged after
Arthur Schopenhauer enunciated his theory on truth and meaning, a
concept that was immediately approved and enlarged upon by
Nietzsche.

These two 19th-century philosophers attacked concepts of truth
in the modern European civilization of the time and created the
"desire for power" paradigm, which says in essence that
humankind's beliefs and values are considered as universal
"truths" only as a result of the rejection of other alternative
possibilities. These possibilities, are of course, suppressed.

According to this idea, all forms of "knowledge" and "truth"
are only the versions that have managed to emerge and survive
amid tough competition with other ideas. The idea emphasizes
that what exists is only an "interpretation" and can never be
"fact".

All "truths", especially those within the subjective world of
the arts, if we trace them back, have the same origins. History
also helps us to realize that the essence of the arts is the
"atom" of desire that triggers an explosion of the artist's
creative powers.

Within the context of Indonesian sculpture, Redy Rahadian, 32,
is someone who puts more weight into expression than perfection
of the object.

In his solo exhibition titled Intensitas (intensity) held in
Galeri Lontar through June 29, he presents 14 of his works.

For Redy, sculpture does not have to obey standard esthetic
patterns. What is more important is expressing feelings and
desires.

Redy's work in part is an expression of his internal world, a
series of emotional states. These states he relates to wider
human problems, such as people's emotional sensitivity, frailty
and physical mortality.

Indeed, one feels many conflicting emotions the first time one
enters the gallery and is confronted with the plethora of styles
Redy has chosen.

Sometimes he uses abstract elements, while in other works he
moves in a figurative direction.

Full of associative forms, his works are often question marks
that invite multiple interpretations. By erasing the "certainty"
of a single meaning, his sculptures become attractive and
interesting because they give their audience this freedom.

In a piece titled Getting Old 1 (2005), Redy introduces us to
a work that could still be understood in a representative context
as a distorted human form. It resembles a sitting person, or at
least gives the impression of one. The suggested torso of the
sculpture is full of holes, cracked and imparting a sense of
sadness. Getting old is like empty, wasteful waiting.

In the second work in the series, Getting Old 2 (2005), Redy
gives an impression of "abuse", with holes and open tears
covering a helpless, prostrate form.

Both sculptures demonstrate Redy's expertise in producing
emotional impressions of aging, vulnerability and bitterness from
the anticipation of death.

The "hole" effects are interesting because they are made of
steel and were created with random blow-torching. Predictably,
the violence inherent in the production of the work affects our
emotions.

Another piece, Solutions 3(2005), plays with our feelings in a
different way, with a struggling figure hanging on a rope within
a thick steel box. With its incomplete body, I asked myself
whether it would climb the enclosure or hang itself on the rope?

One idea hit me: Has life become so unbearable that we can
only count on a piece of rope?

In another area in the gallery, Redy exhibits Wave 2 (2005).
He uses twisted tubular steel as a metaphor for waves. The
material looks strong and tough but is also softly yielding at
the same time. He created a paradox in my head. Are the waves of
life soft or tough or both? Is he even talking about life?

Redy is fond of making sculptures from a range of materials, a
rarity among Indonesian sculptors. Steel sculpture needs more
complicated equipment to produce, along with the ability to tame
it.

Redy's choices and bravery as a sculptor make him special. By
relying on passion and emotion as his main energy source he
creates works that are challenging, authentic and esthetically
pleasing.

Intensitas (Intensity)
solo sculpture exhibition
through June 29
Galeri Lontar
Jl Utan Kayu 68H
East Jakarta