Scluptor Ibnu Nurwanto reaches artistic climax

Scluptor Ibnu Nurwanto reaches artistic climax

Carla Bianpoen, Contributor/Jakarta

While sculptures sometimes appear alien and distant from human
life, in the case of sculptor Ibnu Nurwanto, the opposite is
true. His works come forth from a deep personal compassion mixed
with furor at the woeful situation around him. None of his
sculptures radiate happiness. But the shapes, which reflect the
grain of the wood in such a variety of modes, are phenomenal.

The 30 sculptures now on show at Galeri 678 attest to the
turbulence raging within the inner depths of the artist. This is
a man who detests hypocrisy, curses poverty and shuns exhibitions
and meetings with his contemporaries for fear of being
"contaminated".

Fish bones, which for Ibnu represent poverty and
marginalization, are a favorite subject. Because of its peculiar
smell, and its low cost, ikan asin (salted dried fish) is
identified with the poor and marginalized, while the middle class
has reinvented ikan asin as a gourmet item. Duri, a sculpture of
fish bones measuring 33 by 47 by 17 centimeters is crafted in
mahogany.

Indeed, although Nurwanto's sculptures may speak of anger and
discontent -- and bones for him symbolize slaughter besides
poverty -- his compassion seems to have determined the shapes of
his works.

In general, Nurwanto's sculptures have a high esthetic value.
Even when he is bursting with biting sarcasm, the pleasing
appearance of his works lends his emotions decency.

In Istri Suami the reverse of the usual Indonesian term suami-
isteri (husband-wife), where the man is first mentioned,
Nurwanto's title alone expresses his difficulty in accepting
women's increasing demands for equal rights and opportunities.

In fact, he seems to think that women are overpowering men, at
least that is the impression that one gets from his sculpture, in
which a large woman lies next to a shrinking man. Likewise, in
Wanita Karir (career woman), a near-emaciated, unattractive
figure in pants is depicted.

On the other hand, Nurwanto also shows pity for women who are
in fear. In his sculpture titled Gamang, Fear, a woman in a nice
dress sits on a bench with her legs and mouth open. Her face is
turned upward, as though she is crying out to the heavens. His
sympathy here unfolds in the smooth folds of the dress. Korban
(victim) is another sculpture depicting a woman, this time a
victim of violence. It speaks of the general situation, in which
a woman's safety is not guaranteed, particularly in areas of
armed conflict.

As an artist who tries to capture the lives of the people
around him, Nurwanto has an eye for what is within and also
outside his own living quarters. Politics and politicking, the
turbulence beneath a smooth surface, it's all documented in
sculptures that lean more toward abstraction. Arus Bawah -- 90 by
54 by 20 cms -- can be perceived as a reflection of those
undercurrents, but can also be perceived as an abstracted
representation of the grass roots.

Abstractions of this kind are also found in the sculpture
titled Senja, depicting the twilight years of life, with a crown
that starts at the abstracted figure's lowest end and 'climbing'
until over his head.

Nurwanto also makes works that are semi-realistic, like in
Beradu Birahi, in which a woman tops the man in an enamored
thrust.

Nurwanto was a student of the Jakarta art school, but dropped
out after a year because he could not stand the teachers who
acted like they "knew it all". "I want to be myself," he said.
Self taught, he proceeded to making sculptures, initially using
kayu nangka (wood from the jackfruit tree) for its grain and
affordable price.

After 25 years of working in wood, Ibnu Nurwanto has ventured
into bronze as a medium. While wooden sculptures are one-offs,
bronze allows for several editions of the one sculpture.

This is the climax of my artistic career, he says, referring
to the only bronze amid his wooden sculptures, a reclining female
figure in a state of sexual excitement, named Orgasme.

In hindsight, however, it may be his first and last bronze
sculpture. I've had it, he said. I got allergies all over. In
addition, in the time it took for the bronze to firm up, he could
have carved a wood sculpture, he said.

The only regrettable feature of the exhibition is that it has
no decent catalog worthy of the works on display.

Orgasme, Solo exhibition of sculptures, Ibnu Nurwanto, until 29
Aug. 2004, Galir 678, Jl. Kemang Raya 32, Jakarta, 071792164-
7196007