Nuarta in rites of tangible and intangible reality

By Aendra H. Medita

JAKARTA (JP): Symbols of tangible and intangible reality are to be found in Nyoman Nuarta latest selection of sculptures currently on display at Edwin's Gallery in Kemang, South Jakarta.

Two realms sharing a common discourse is the major theme that Nuarta -- a 1979 graduate of the School of Fine Arts, Bandung Institute of Technology -- would like to get across. As befits the title of the exhibition, Sekala dan Niskala, which is a Balinese expression meaning tangible and intangible reality, Nuarta wants to express this idea through his sculptures.

Born in Tabanan, Bali, on Nov. 14, 1951, Nuarta leans on these two opposing poles, when resorting to symbolization in the 26 works on display at the gallery until Sept. 28.

Do these works come as a surprise? Yes. At least when sculpture exhibitions, unlike painting exhibitions, are rare, Nuarta displays profoundly thought-out works. It must be admitted, though, that several works in the exhibition are of an ordinary quality.

In Indonesian sculpture, Nuarta is a great name along with G. Sidharta, Rita Widagdo, Dolorosa Sinaga, Amrus Natalsya and Sunaryo. He is known to be consistent with his career as a sculptor. In Bandung, the sculptor has a three-hectare studio, where a sculpture park, a gallery, a museum and some other facilities are being built.

Nuarta's works can also be found in public places in a number of cities, such as the Indonesia's Independence Proclaimers (Jakarta, 1979), Arjuna Wiwaha (Jakarta, 1979), Jalesveva Jayamahe (Surabaya, 1993) and Garuda Wisnu Kencana (in process, Bali), which, it is said, will be higher than the Statue of Liberty in the United States when it is completed.

Nuarta, the winner of a REDAS competition in Singapore in 1993, frequently exhibits his works in solo exhibitions as it gives him more satisfaction.

He said that sharing an exhibition with other sculptors would be more complicated.

In his present exhibition, Nuarta is trying to arouse enthusiasm for sculpture after the absence of sculpture exhibitions for some time. The latest sculpture exhibition was by Irianti Karnaya at the National Gallery. Other sculptors that frequently exhibit their works include Amrus Natalsya and a number of young sculptors, who usually prefer to display their works in joint exhibitions.

Nuarta's works on display were created between 1990 and 2000. All of them are based on the formalism of form.

The wild nature of his works is seen in his ability to distort the reality of an object into a deconstructed form. Such a nature is found in Typhoon Dance(1994), in which Nuarta presents the figure of a dancer in her wildness amid an undulating wind. Nuarta's strong rhythm consciously leads to intense scoring on his objects.

Meanwhile, his other works, which are laden with grand significance and symbols of courage, are no longer subject to such intense scoring. This is evident in The Young Tiger (1992) and Leopard (1990).

In his smaller works there is ample room for maneuvering, and Nuarta is free from his tangible and intangible reality. This can be seen in Trampled (1994), Anugrah (Blessing, 1994), Armageddon (2000) and Horizon, Businessman (2000).

As for the works laden with tangible reality, Nuarta speaks more with the power of forms, such as in Women in Red (2000) and Busana (Dress) (2000.

Nuarta is highly aware of the naturalism of the form which he likes to convey in his work. Therefore, the objects have been treated perfectly, though not without dynamic touches. This is very obvious in Women in Red, in which a white violin is placed above a lady violinist in order to give a stronger impression of harmony.

Of all his works, Nuarta offers Sekala dan Niskala in a dynamic and harmonious manner. It is no exaggeration, therefore, to consider Nuarta's fifth solo exhibition as his rite of tangible and intangible reality in making sculptures.