PORTRAITURE

Dewie Bukit (16albermarle Project Space) and Alfred W. Djami (Delmar Gallery)

Photographer Dewie Bukit has an interest in the development of Batak 'ulos' handwoven textiles. She has developed a strong relationship with the weavers themselves, and has led many research and entrepreneurial activities in an effort to empower the weavers to continue their art form in an economically sustainable way. Like other weaving and dyeing traditions in Indonesia, the process is complex, time consuming and labour-intensive, and always in competition with cheap, manufactured products. As part of her research and advocacy, Dewi has produced  a book Arta Tading Tadingan and the documentary film Invisible Maestro: Kisan Perempuan dan Ulos di Tanah Batak, describing the Batak weavers’ extraordinary skill and dedication. As well as a series of large scale black and white portraits that position the women as "maestros", masters of their artform who deserve the status conventionally ascribed to great (white, male) painters.

Alfred W. Djami lives in Atambua City, Belu Regency, East Nusa Tenggara, a province of Indonesia that directly borders Timor Leste. His photography documents everyday life in Indonesia’s Eastern islands, from significant rituals of life and death to the islands' youth, pets and the all important harvest. The Eastern islands of Indonesia, including Timor, are renowned for their weaving and dyeing traditions, especially the tenun cloths which feature intricate patterns that represent the interwoven human, plant, animal and ancestral universes of the places and people who create them. The portraits in this exhibition depict important persons in the weaving culture of Belu, and they were made in collaboration with the weavers and their families. The sitters selected their own poses and props and after the portraits were printed onto canvas, the artworks were returned to them for further embellishment with threads, beads, seeds or whatever the weavers, their families and communities chose to tell their story. Before this exhibition the portraits were stored with the families who created them; in the process, some works became prayers and symbols of hope, some record a desperate hope for rain. 

Think About/ Discuss: 

Consider the relationships between the photographers and their subjects, both photographers speak very respectfully about the weavers. What is interesting about the experience of contemporary photographers capturing traditional weavers? Place yourselves in this project and analyse the emotions, conversations and experiences that this group of people would share during a project of this nature. 

Written response practise:

Discuss the ways artists’ make choices to communicate ideas and create meaning in their photographs. 

In your response ensure you unpack the processes of the artist’s material practice as well as choices that communicated their conceptual practice. To extend this activity you can also include the artist practice of other Indonesian portrait photographers from 16albermarle Project Space’s exhibitions: 

• Sangkakala, On Traditions 2024

• Wawi Navarroza, Our Grandfather Road 2022

• Anang Saptoto, Indonesia Calling 2020