Nuarta in rites of tangible and intangible reality

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.