Tjok Udiana and the Secret of Used Paper Effigy

Effigies are usually made from wood, copper, stone or fiber and the like. But, how about a three dimensional art work made from used papers (known as rubbish)? Of course, it’s an excellent work and it really does exist.

Tjok Udiana is the man who successfully conjures up the paper rubbish into valuable art works. This sculptor who is also a lecturer at Kriya Department of Indonesia Institute of Arts (Denpasar) is intensively producing and introducing his new art works. He will exhibit his works in “Gallery BTN 2008” which will be held at Bali Art Center, Denpasar in the upcoming December.
Tjok, born in Denpasar on 26 February 1973, admits that the idea to create an effigy from paper was initiated by his dismay at seeing the scattered remains of oblation, then amassed and set alight. And it’s the fate of papers too, after being read, they become unused articles. “Every time I see this, I always want to gather that rubbish and make it into a useful article. So, armed with the discipline at hand I take advantage of the rubbish to use it as the material for effigy,” revealed the artist who has myriad experiences in exhibitions both in painting and effigy creations.
Presently studying at the Doctorate Program at Gajah Mada University (Yogyakarta) the artist says the reason he chooses paper as the material for creating his effigies is because of the difficulty to look for material such as wood. Moreover, in relation to the global warming issues, the cutting of forest is illegal. This condition obviously has an impact on his art creativity. “Wooden effigy is not durable, but brittle and fragile during the forwarding process (to other locations). This matter often becomes a source of complaint amongst effigy collectors,” he explained.
According to the husband of Cok Istri Putra Murniati, he first does a two dimensional sketch on paper to prepare for making a paper effigy. Afterwards he sets up the structure or framework. The materials used are iron, coarsely woven wire and string wire. Meanwhile the tools needed are pliers, scissors and wooden palette resembling a knife.
The next process is the formation initiated by sorting the paper according to its type. Such papers are then cut into smaller pieces and soaked in the water for some 3-5 days. Later it is made into pulp by mixing it well using a blender. The pulp is finely blended with wood glue or starch glue. To make the paper smell fragrant and have natural color, the powder of dry frangipani, dry ylang-ylang and the skin of dry mangosteen is added.
The process of sticking the paper onto the framework follows, by means of pinching technique, namely adhere the paper bit by bit like making jaja cacal or traditional cake for oblation. Originally, it was made by forming global design and then the details were added with the help of wooden palette. The effigy is then put aside to dry for 1-2 weeks before it can be painted. “To make it more durable and glossy, I simply coat it with clear gloss additive,” he added. (BTN/015)

Kris as World Heritage

To Balinese community, kris does not only denote a weapon handed down since the ancient time. Kris is inseparable from the day-to-day life of Hindu community in relation to the customary, cultural and religious matters.

In ancient times kris became a symbol of dedication to royal family. However, in line with the development of time, kris is also considered to have spiritual power being capable of protecting the journey, business and safety of the household and becoming a medium of healing (for a shaman). Today, it continues to be used as ritual paraphernalia.
Considering the wide importance of kris within the life of Balinese and archipelagic community in general, the UNESCO as an organization under the United Nations handling the educational, scientific and cultural spheres, has stipulated the kris to be a masterpiece of humanity’s world heritage, since 25 November 2005.
Pande Suteja Neka, a Balinese man was determined to conserve the kris in a museum. To Suteja Neka personally, kris has become an integral part of his life. “To me, kris is not only a sacred article. But more importantly, it has encouraged the young generation to love kris. It is inseparable from the daily life of Balinese (Hindu) community in their customary, cultural and religious aspect,” observed the owner of Neka Art Museum.
His profound affection for kris is definitely shored up by emotional closeness. His predecessors belong to pande clan or ironsmiths having close psychological relationship to royal palace. The kris maker and pande clan devoted themselves to the royal palace and the ruler at that time.
With the extent of some 9,150 square meters and 2,580 square meters of floor space of the Neka museum located in Ubud, this art can be categorized as unique. Within the same location, the museum displays paintings and hundreds of krises that assuredly makes it something different in the museum matters in Bali. Due to the rich combination of collection it has, many tourists from several countries are attracted to visit every day.
Out of 272 existing kris collected for the museum 18 pieces belong to heirloom kris and 63 pieces belong to ancient kris made by empu or the maestro of kris maker (attractive, old and intact) that have been collected since 1970s. “I will consistently undertake the kris preservation as one of the heritages from our predecessors. I wish the existence of kris will be everlasting for our children and grandchildren,” he added. (BTN/008)