A ‘China Dream’ For Gifted Artist

Jakarta Globe, Alia Swastika, January 31, 2010

The newest exhibit by master ceramicist F Widayanto, below, features 24 pairs of traditionally dressed, childlike Chinese couples.  (Photo courtesy of F Widayanto)

Most people are familiar with the American dream — a house in the suburbs with a white-picket fence and two-car garage, maybe a walk-in closet, with kids playing on the lawn.

But what about the Chinese dream? What does this entail?

Renowned ceramicist F Widayanto attempts to interpret the Chinese dream and make it a reality in his latest exhibition, “China Dream,” at his studio in Setiabudi, South Jakarta.

Widayanto, who organizes a solo show at least once a year, starts off 2010 with this small-scale solo exhibit that also unveils a part of his personal history.

In “China Dream,” Widayanto traces his own ancestry and shares the experience with his audience using Chinese symbolism defined by the faces of hopeful children.

The exhibition is being held ahead of the Chinese New Year, which falls on Feb. 14 this year. The artist’s ceramic work warrants the attention of those who are looking to the future instead of dwelling in the past.

Widayanto, who pioneered modern ceramic art in Indonesia, was born in Jakarta in 1953 and graduated in 1981 with a degree in ceramics from the Bandung Institute of Technology’s School of Fine Art and Design.

He now operates three studios in Jakarta, where people come not only to see his work, but also to learn how to create their own ceramics.

His current exhibit is dominated by themes concurrent with the upcoming Chinese New Year, that of optimism and prosperity.

The artist has created a total of 24 couples averaging 35 centimeters in height to give viewers a sense of revitalization and rejuvenation.

Widayanto’s work illustrates that a child’s beauty lies in its ability to continually remind the rest of the world that in the middle of chaos and crisis, we still can dream.

While the children are depicted showing various gestures and expressions, they still convey the same realistic approach in terms of technique. Each piece shows a child-like couple with smiles on their faces and optimism in their eyes.

The artist pays strict attention to detail, as evidenced by the intricacies of the costumes and accessories that are thoughtfully rendered and showcase beautiful finishing techniques.

But Widayanto’s work is not solely inspired by Chinese culture. The artist mixes Javanese influences into his work through an array of styles displayed in everything from his masks to his wood carvings.

Last July, Widayanto garnered critical acclaim for “A celebration of 30 Semar,” his exhibition at the National Gallery.

The exhibition — one of the biggest ceramic representations in Indonesian history — was heavily covered by the media, something that veers from Widayanto’s normally light and quiet approach to his art.

For this exhibition, which runs until Feb. 5, Widayanto has chosen to return to his roots. He opens himself and his work up to the public before the revelry of the new year begins.