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

AIIUSAPATI Lives and works in Yogyakarta, Indonesia Top Solitude no.1 1992 Wood 35x55x40cm Collection: The artist Bottom The journey no.4 1994 Wood 180x70x42cm Collection: The artist Anusapati was born in 1957 in Surakarta, Central Java, Indonesia. He grew up in a family that clung to Javanese traditions. It is not surprising that when young, Anusapati took the opportunity to study music and traditional Javanese dance. He completed his studies in the Faculty of Sculpture at the Indonesian Institute of Fine Arts (now ISI, Indonesian Institute of the Arts) in Yogyakarta in 1984. In addition to his profession as a sculptor, he also teaches at the Institute. For Anusapati, a career as a teacher and as an artist are equally important. In his career as a sculptor, Anusapati has attempted creations that use a variety of materials, beginning with metal, wire, wood, and so on. As his art developed, particularly since his return from the United States in 1990, Anusapati has felt that wood is the most suitable medium for the expression of his ideas. He does not restrict himself to just one 80 I ART I s T s: sou TH AND sou T H- EA s T A s I A type of wood in his art and ignores the quality of the wood he uses. In most of his works the wood used is the type most easily found near his home; wood sourced from jackfruit, mahogany, durian and hibiscus shrubs or trees. The source of the wood is indirectly representative of Anusapati's concern for the environment; he has never deliberately cut down a tree simply to obtain material for his work. In Anusapati's work, wood is processed aesthetically without eliminating the natural elements of the wood itself. His work is an honest presentation of the character of the wood just as it is, free from painted colours and polishes. As for the texture of his sculptures, the wood is left looking much as it was when found, with only the addition of a few simple touches here and there. For Anusapati, deformities in the wood represent a form of perfection in the wood itself. From time to time, he uses a system of binding or ropes, sawdust and tiny seeds. Anusapati explains the main concept expressed through his works: The starting point for my works is my materials because I want to introduce a natural atmosphere in my work. I do not sandpaper it or buff it up; rather I allow the original substance to be seen. I deliberately look for spirituality; I want to create a 'back to nature' experience for the viewer. 1 The impression created when viewing Anusapati's works is that the sculptures have been made using very simple equipment and technology, and the end result is that the quality of the form is quite natural. The sculptures serve to remind us of traditional everyday forms, especially those found within the environs of the artist's local community. Most of Anusapati's sculptures are personal in character-they express private feelings and thoughts. However, if we observe the titles of his works, it is possible that some of his work may actually represent a form of social concern. For example, a work entitled Knock-knock-knock, open the door to your heart 1993 has a crude resemblance to the shape of a kentongan, a traditional instrument used for communication within the village. Upon being struck, it creates a sound that serves as a signal to the village community. A personal touch is added through the combination of the kentongan form with the form of a door hollowed in the middle. The work explores problems in personal communication through the use of a natural medium. This demonstrates Anusapati's sensitivity to the integration of his choice of form with matters that concern him personally. Irma Damayanti,Faculty of Art and Design, Bandung Institute of Technology (1TB), Indonesia 1 Anusapati, interview with Esther de Charon de Saint Germain, 1993.