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