The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

Tom Deko was born in Goroka in the Eastern Highlands of Papua New Guinea in January 1965. In his childhood, Tom created images from clay, wood and stones in his Makia village in the Benbena Valley. In primary school the artist developed an interest in three-dimensional artworks, from paper planes to boats and plasticine carvings. His zeal in creating something out of nothing inspired him to further this interest. Upon completion of his secondary education, Tom was awarded a Natschol scholarship to pursue a career in creative arts at the National Arts School (now Faculty of Creative Arts), which he attended from 1981 to 1985. Sculpture captured the artist's attention and he was awarded a certificate in sculpture. However, Tom did not take up the medium seriously until 1990. The artist gained a feel for metal sculpture, mastering the medium and pioneering new ideas and modified forms of sculpture. The bulk of his methods are used in academic applications at the Faculty of Creative Arts. In 1992, Tom won first prize at the Waigani Arts Centre's exposition, an annual event held in Port Moresby by the Arts Council of Port Moresby. In October 1992, the artist participated in a mixed media group exhibition hosted by the Papua New Guinea Orchid Society. In 1993 he participated in a masters exhibition at the Papua New Guinea National Museum and Art Gallery in Port Moresby. The exhibition was designed to unite some of Papua New Guinea's famous artists, such as Kauage, Jakupa, Ruki Fame and Martin Morububuna. With Martin Morububuna, he participated in a major show at the Faculty of Creative Arts Gallery, University of Papua New Guinea in March 1995. International exposure came for Tom when his art works were added to the Highlands artists' exposition in Sydney in May 1995. His participation was affirmed by artists like Kauage and Jakupa. With much of his concentration on contemporary blending, Tom has developed an approach in his art which depicts the significance of traditional ways influenced by modernisation. The combination of the garamut (slit drum) with modern instruments is shown in the sculpture Scrap metal band. This uniquely organised piece synchronises the struggle by contemporary Papua New Guinean artists to maintain pure Papua New Guinean rhythms in all creative arts media, not just music. According to the artist, it is his intention to adapt traditional themes from his area and blend them with modern arts methods in the best available form to express himself and his tradition. In participating in the Triennial, Tom has tried to capture and express one of the many changes modernisation has made to Papua New Guinean traditions. John Rei, Public Relations Officer, Papua New Guinea National Museum and Art Gallery, Port Moresby, Papua New Guinea Dynamite rocker (prototype for Scrap metal band) 1994 Scrap metal and found-objects 167x72x85cm Collection: Centre Culture! Jean-Marie Tjibaou, Noumea A RT I s T s : PA c I FI c I 113