Statues reflect leaders' indifference

Statues reflect leaders' indifference

Kuss Indarto, Contributor, Yogyakarta

The slim figure is looming. There is a space almost becoming
the main feature in the front part of the figure, akin to a wide-
open mouth. Inside this hollow space, you can see the image of
gunungan, symbol of the universe in the shadow puppetry, and
saron, one of instruments in a gamelan set.

In the upper end, a round shape protrudes as if depicting the
image of a head. Also a few centimeters underneath it, there is
another round image giving the impression of a head. There are
thorns on the surface.

The wooden sculpture by Sugeng Pribadi is called Monolog
(Monologue). This work is an abstraction of the mouth of a puppet
master, the narrator in a leather puppet as an art genre in Java.

A leather puppet show is usually performed all night long (up
to eight hours) with the puppet master serving as "the main
character" as he has to play dozens of characters distinguishable
from one another by physical and vocal characteristics.

The puppet master makes the vocal characteristics really come
alive. In this performance, the puppet master becomes the center
of attention because he determines whether or not the story he
plays is interesting.

Sugeng Pribadi's Monolog sculpture represents the "monologue"
in the social context of present-day Indonesia. It can be
construed as the attitude of a leader or a people's
representative that talks only to himself, indifferent to social
problems that are actually part of their responsibility.

Or, the sculpture is understood in the context of "puppet
master", a term with an unfavorable political connotation as it
suggests the presence of an invisible hand in cases that harm the
people.

This sculpture is only one of 26 sculptures now on exhibit at
Galeri Gelaran

Beside Sugeng's works, 11 sculptures are made by Sardi, one of
Yogyakarta's young sculptors. Sardi is a graduate of the fine art
department of Yogyakarta State University, while Sugeng Pribadi,
who comes from Malang, East Java, is a self-educated sculptor.

All the sculptures on display are made of wood of different
types: jackfruit wood, sapodilla wood, longan wood and the
durable teakwood. However, some works are made of metal or
plastic.

A touch of paint is given to the objects to provide special
characteristics. Meanwhile, most of these works manifest
abstract, semi-abstract, semi-realist or simplified forms of
objects or creatures found in our daily lives. In works
presenting simplified forms, simplification is given an artistic
touch by means of stylization to lend force to the esthetic
character.

Take a look at another work by Sugeng Pribadi. Ibu Bumi Bapa
Angkasa (Earth is the Mother, Sky is the Father), in which he
creates visualization in the form of a fairly large round shape
at the lower end. Above it, there is a mass of what appears to be
some irregular and intertwining climbing plants. In short, this
work can be understood as balance between two forces, the earth
and the sky.

Perhaps Sugeng would like to translate the Yin-Yang (negative
and positive) concept or the concept of balance in life as found
in Confucianism from China. In general, this work is quite
interesting although actually artists can better explore the
world of imagination to produce fresh images of the sky and the
earth in a more artistic manner.

Actually, Sardi's works also present his power in the
simplicity of forms. He seems to have utilized to the optimum the
original shapes and format of the wooden material.

Take, for example, timber that has been split. Out of this
wood, Sardi has made a fairly exotic sculpture called Geliat
(Wriggling).

This sculpture describes the torso of a female in a standing
position. The face is combined with the hands folded on the head.
Meanwhile, in the lower part, in the part with a large hollow
space, there is a picture of genitalia. The hollow space goes
down to the base of the sculpture. This incompleteness has given
a great esthetic value although, in terms of substance, Sardi's
works does not talk much and are not flavored with grand themes.

Sardi's other works like Dancer, Aku dan Kamu (You and I),
Don't Care I, Don't Care II, Endless Love, Multi Kepala (Multi
Heads) and Bercermin (Looking at yourself in the mirror), really
demonstrate Sardi's creativity and ability to adapt with the
basic materials of his work.

The expression of nature as already etched in the character of
the wood will not be a constraint to creativity but is the
integral subject of his sculpture.

This exhibition seeks to make itself richer as Sugeng
Pribadi's art also tries to extract itself from the stereotypes
of modern sculptures and move towards contemporary sculpture. At
least with the presence of his material, the exhibition room of
Galeri Gelaran is not boring.

Look, for example, at his works called Bercermin Diri, Sunrise
in Paderman Hiu, Sejoli (a Couple), Gerak ke Titik Vertikal
(Movement towards the Vertical Points) and some others. They tend
towards being installation works in their expression so that the
existing space seems to involve appreciation as a subject and not
the object of this particular sculpture.

This exhibition seems to be returning our basic memory of
appreciation for the greatness of Nature and the Almighty Good.

-- The exhibition titled Exposing Feelings at Galeri Gelaran,
Jl. Menukan 273, Yogyakarta, will run through to Aug. 21, 2002.