JP/19/carla1
JP/19/carla1
Carola Vooges transcends craft
Carla Bianpoen
Contributor
Jakarta
Not so long ago, art historians, art critics and the public
seemed at a loss when it came to distinguishing between art and
craft. The line seems to have become even more blurred. What was
considered "merely" craft is now entering a phase of full
recognition, at least in Indonesia.
The CP Open Biennale, on show until Oct. 3, is a significant
indication of this trend. In this auspicious exhibition, works
that one might refer to as handicrafts or contemporary craft are
displayed at the same level as the works of renowned local and
foreign artists.
It must also be said, that some of the "craft" works exhibited
are of a type that makes it hard to recognize them as works of
"art".
The work of Carola Vooges -- whose medium is wood -- however,
did not have any problem in attracting the art lovers' attention.
The meditative form and extremely refined finish of the works
confirm the transcendence of craft to new levels. They may be
considered -- by both curators with new visions and conventional
art connoisseurs -- genuine art works.
Evoking a flash of recognition in the viewer, Carola's works
reflect the way she is inspired by nature and natural objects.
Born in Holland -- where the sea has historically been a
dominating force -- and living in the Indonesian archipelago for
the last decade, it should not be surprising that the sea and the
objects close to it, have instilled in her a profound love for
nature's splendor.
The semi-abstract works which somehow retain the detectable
natural form of the object from which they were inspired, go
deeper than one would expect, evoking a sense of reflection and
reverence.
Her work, Space, for instance may remind us of a sea shell,
but the upward lines and refined execution of the work may lead
the viewer to a spiritual realm.
The same can be said of her work titled Navel, here the lines
are carved with precision and feeling.
The Navel, whether perceived as the physical center of the
world or the spiritual center (as in the yoga tradition),
inspires quiet contemplation.
Carola uses suar wood, a type of hard wood. She says her
preference for this kind of wood is, among others, determined by
its natural coloring of brown and creamy tones, which seems to
accentuate the flowing forms.
Having worked as an art teacher for children and seniors while
pursuing a career as an actress and model in the Netherlands,
where she was born, art has long been part of her life. But she
came to work with wood only after she moved to Bali, where she
has now lived for more than a decade.
"My work is an exploration of natural forms," she said,
explaining her stylized versions of natural structures.
Mostly deriving from the awe of the sea in her country of
birth as well as in Indonesian archipelago, her whimsical forms
are often abstractions of things close to the water. Found
objects, like seashells, have inspired her often sensual
creations.
However, her source of inspiration is not limited to the
ocean.
This was revealed in her exhibitions at Galeri Ganesha at the
Four Seasons Resort in Bali last year.
The title, Pyramid, may suggest a structure with triangular
sloping sides that meet at the top. But, Carola's structure was
laid out on the floor, thus alluding to the snail, which
symbolically represents the enduring within the changeable.
Carola's works are open for interpretation, depending on the
viewer. The good thing is that regardless of conceptual
interpretation the works are enjoyable esthetically.
Among the remarkable attributes of this sculptor is her
ability to carve objects in an abstract shape, while at the same
time hinting at the original physical form.
It's like visualizing the process of creation, when inspired
by its physical form, the artist proceeds to the realms of
imagery, where she dwells until the time when she reaches the
sense of fulfillment.
Making such works demands time, endurance and patience.
Explaining the arduous and delicate design to local crafters is
not easy, but apparently Carola manages to do so while
maintaining a friendly relationship with them.
Carola's works stand as an asset to the language of esthetics.
It will be interesting to see her further explorations.
Carola Vooges transcends craft
Carla Bianpoen
Contributor
Jakarta
Not so long ago, art historians, art critics and the public
seemed at a loss when it came to distinguishing between art and
craft. The line seems to have become even more blurred. What was
considered "merely" craft is now entering a phase of full
recognition, at least in Indonesia.
The CP Open Biennale, on show until Oct. 3, is a significant
indication of this trend. In this auspicious exhibition, works
that one might refer to as handicrafts or contemporary craft are
displayed at the same level as the works of renowned local and
foreign artists.
It must also be said, that some of the "craft" works exhibited
are of a type that makes it hard to recognize them as works of
"art".
The work of Carola Vooges -- whose medium is wood -- however,
did not have any problem in attracting the art lovers' attention.
The meditative form and extremely refined finish of the works
confirm the transcendence of craft to new levels. They may be
considered -- by both curators with new visions and conventional
art connoisseurs -- genuine art works.
Evoking a flash of recognition in the viewer, Carola's works
reflect the way she is inspired by nature and natural objects.
Born in Holland -- where the sea has historically been a
dominating force -- and living in the Indonesian archipelago for
the last decade, it should not be surprising that the sea and the
objects close to it, have instilled in her a profound love for
nature's splendor.
The semi-abstract works which somehow retain the detectable
natural form of the object from which they were inspired, go
deeper than one would expect, evoking a sense of reflection and
reverence.
Her work, Space, for instance may remind us of a sea shell,
but the upward lines and refined execution of the work may lead
the viewer to a spiritual realm.
The same can be said of her work titled Navel, here the lines
are carved with precision and feeling.
The Navel, whether perceived as the physical center of the
world or the spiritual center (as in the yoga tradition),
inspires quiet contemplation.
Carola uses suar wood, a type of hard wood. She says her
preference for this kind of wood is, among others, determined by
its natural coloring of brown and creamy tones, which seems to
accentuate the flowing forms.
Having worked as an art teacher for children and seniors while
pursuing a career as an actress and model in the Netherlands,
where she was born, art has long been part of her life. But she
came to work with wood only after she moved to Bali, where she
has now lived for more than a decade.
"My work is an exploration of natural forms," she said,
explaining her stylized versions of natural structures.
Mostly deriving from the awe of the sea in her country of
birth as well as in Indonesian archipelago, her whimsical forms
are often abstractions of things close to the water. Found
objects, like seashells, have inspired her often sensual
creations.
However, her source of inspiration is not limited to the
ocean.
This was revealed in her exhibitions at Galeri Ganesha at the
Four Seasons Resort in Bali last year.
The title, Pyramid, may suggest a structure with triangular
sloping sides that meet at the top. But, Carola's structure was
laid out on the floor, thus alluding to the snail, which
symbolically represents the enduring within the changeable.
Carola's works are open for interpretation, depending on the
viewer. The good thing is that regardless of conceptual
interpretation the works are enjoyable esthetically.
Among the remarkable attributes of this sculptor is her
ability to carve objects in an abstract shape, while at the same
time hinting at the original physical form.
It's like visualizing the process of creation, when inspired
by its physical form, the artist proceeds to the realms of
imagery, where she dwells until the time when she reaches the
sense of fulfillment.
Making such works demands time, endurance and patience.
Explaining the arduous and delicate design to local crafters is
not easy, but apparently Carola manages to do so while
maintaining a friendly relationship with them.
Carola's works stand as an asset to the language of esthetics.
It will be interesting to see her further explorations.