TEXTILES

Dias Prabu (16albermarle Project Space) and Nency Dwi Ratna (Delmar Gallery)

Batik has a long history of being Indonesia’s most prominent and sought after textile practice. The process includeshand-draw motifs (batik tulis) or iron crafted stamps with wax to create intricate and repetitive designs. Dias Prabu’s has developed his own contemporary practice of batik tulis to communicate ideas about heritage, tradition and storytelling. His exhibiting work is inspired by two legends from distinct Indonesian cultures, which nonetheless tell similar stories of family, loss and longing. In both the legend of Batu Kapal (Ship Stone) from the Natuna Islands and the story of Malin Kundang in West Sumatra, a mother waits for her son's return after a long time wandering. When the son returns, he breaks his mother's heart with his pride and arrogance, spurning her as if they have never met. In his work, Dias' overriding concern is that Indonesian society has lost touch with the wisdom of its forebears. In The Holy Prayer, Dias’ reminds viewers of the wisdom of ancestral stories from across the archipelago, and their ongoing relevance to modern life.

Ikat textiles have played a significant role in the economy and socio-cultural structure of Sumba culture and are highly-prized by collectors. However, the prevalence of ikat in everyday life on Sumba has been heavily impacted by the availability of cheap manufactured cloth and clothing. Nency has been exploring the history of Sumbanese ikat textiles and creating new motifs for the future. The works displayed here represent three generations of Nency's practice. In the first generation, Nency recreates traditional Sumba textiles, including many of which, like the one featuring eight full length portraits of the Dutch Queen Wilhelmina (1880-1962), are now held in overseas collections. Nency sees her first generation recreations as tools to help herself and Sumba people reconnect and interact directly with historical motifs that are otherwise in the hands of museums and collectors. In the second generation of works, Nency repositions motifs to create new stories and to make it easier for designers to utilise the fabric without losing parts of the pattern. In her third generation Nency elevates traditionally complementary motifs and makes them the focus in new works that address declining biodiversity and species loss on Sumba Island.

Discuss and Make:

Consider the ways both artists reference their cultural history in their artmaking practice. Discuss how artistry is passed down through generations to ensure history and tradition are maintained? Over time, what impacts, hurdles and benefits may arise from generational keepsake?

Use the following link to learn about 5 Indonesian textile designs, noting key words, colours or elements of each style. Then using drawing materials create your own motif and pattern based on one of the 5 styles through your own cultural lens.

5 Stories Behind Traditional Indonesian Fabrics - Indonesia Travel

Useful Links

Delmar Gallery - Trinity Grammar School

16albermarle

Indonesian art is fresh, energetic and lively. Why do we not see more of it? (theconversation.com)