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