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.