Solo Show “Sri Serie” by Agung Kurniawan’s
January 2, 2025
Illusion of Identity
Wayan Upadana
Exhibition
Repurposing: Paradise
Artist
Wayan Upadana
Written by
Krisna Sudharma
Manifested an incisive exploration into the fluidity and plurality of identity
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Sculptor and painter Wayan Upadana is inspired by water, materials that can melt and the juxtaposition of natural forms with found or ready-made objects. His resin sculptures include his lavish pigs floating in bowls of chocolate, translucent people floating in a flowing video-projected sea and the flat sculpture inspired by traditional Sculpture in Bali.
His work explores social and cultural issues, particularly as they relate to everyday life in Balinese society. Born in 1983 in a small village in Gianyar, Bali, Upadana completed his Fine Art degree in Yogyakarta. He has been a finalist in numerous art awards and has exhibited extensively in Bali, Yogyakarta, Jakarta, and Surabaya in Indonesia, as well as in Melbourne and Fremantle in Australia, including a residency at the Fremantle Art Centre in 2016.
In “Illusion of Identity #1, #2 (Anonymous Project)”, Wayan Upadana has manifested an incisive exploration into the fluidity and plurality of identity through his latest work. Created with deep-rooted sensitivity to the nuances of identity construction, Upadana’s piece is an expression of the ever-evolving human condition, shaped by intersections of race, religion, region, belief, principle, and gender. Drawing inspiration from the complex fabric of societal identity markers, this work mirrors the intricate ways in which individuals perceive and are perceived within the myriad spaces they inhabit.
Crafted from slender pieces of wood, the sculpture presents a series of figures with intentional ambiguity, devoid of distinctive characteristics that typically denote persona or gender. This form choice is reminiscent of a ‘wayang’, a traditional Indonesian puppet, casting an optical illusion that invites contemplation on the essence of identity beyond physical delineations. The incorporation of light plays a pivotal role in this narrative, bringing to life the nuanced textures and forms of the sculpture, further emphasizing the ephemeral and elusive nature of identity.
A distinctive feature of Upadana’s work is its elongated structure, a stylistic nod to the traditional wooden sculptures of Bali characterized by their asymmetric forms and surreal distortions. This stylistic choice not only enriches the visual dynamism of the sculpture but also serves as a metaphor for the multifaceted perceptions and experiences that shape human identity.
This sculpture reflects not only Upadana’s observations on identity but also navigates the commodification of identity, drawing parallels with the historical context of Balinese art as a cultural commodity. Since the founding of the artists’ collective Pitamaha in 1936, Balinese art has been framed, traded, and often constrained within societal expectations. Upadana compellingly engages with this dialogue, examining the parallel ways in which identities, like artworks, are shaped and delimited. By positioning the elongated sculptures within the broader discourse of identity commodification, Upadana confronts the external constraints imposed upon identity and the challenging journey of dismantling such confines.
In essence, Wayan Upadana’s sculpture is an abstract meditation on the social constructs of identity, ingeniously encapsulating the transient and multifaceted nature of the self. Through his use of material, form, and light, he contributes a layered discourse on identity, urging a departure from the categorical and towards a more fluid, open-ended understanding of the self. This series, with its profound intellectual underpinnings and innovative aesthetic, is a significant contribution to the present day, embodying a contemplative dialogue on the continuous reconstruction of identity in the modern age.
