Jagad Art: Traces of Space and Time

The art of installation with artistic ideas inspired by the agrarian landscape.

In the beginning, there were only traces of rain and footsteps at the front yard of that colonial legacy art-deco architectural building of Bandung’s purnawarman Street. But now that public chamber is settled by a Cendrawasih bird. Not the actual bird, though, it is just one of the installation art works titled “Traces…” created by Wayan Sujana Suklu.

The public chamber, which was meant to serve as the place for mankind to exist in their activities of various cultural ideas, is now infiltrated by a construction of 700 x 500 x 150 cm dimension, made of bamboo. The work of installation art titled “Cendrawasih” offers an imaginative and inspirational

artistic idea to the public.

“Traces…” which Suklu displays is quite a contrast and rather monumental, because the bamboo structure on his installation art work is not a mere  architectural piece. The lines that emboss on the surface, give a whole new view on the landscape image that often times slips from the observation of metropolitans.

The concept of breakage, lines and space perspectives on the work of installation art fundamentally is a drawing. Therefore, Suklu, drew the space through  the existence of installation art form in a public space. For him, fine arts at this point no longer need to be imaged at a certain space exclusively. The  presence of public or other persons in the process of manifesting the work is also significant as part of the interaction process between the real world and the world of ideas.

“Fantasy is born as the symbiosis of the real world and the world of ideas, to then accumulate into a form of bamboo installation art,” described Suklu.

He also presents images of daily items from the landscape image such as tables, chairs, and gates, using the same material which is bamboo. The agrarian culture taken in the process of artistic idea research makes his work contextual, in the midst of real public space with cultural roots torn by mass sophistication.

In the meantime, Nyoman Sura collaborated with Lena Guslina at the opening of the exhibition. They treated Suklu’s masterworks as imaginative rooms, demonstrating body movements and symbolic narration concerning the life achievement of a human being.

As the act takes place, Suklu spontaneously creates 50 drawings sizing 30 x 30 cm with the object; the movements of the two dancers. Suklu’s space of masterworks at that time became a borderless inspiration and interpretation space.