Global Impact on the Survival of Wayang Kulit ... - Siew Lian Lim
Global Impact on the Survival of Wayang Kulit ... - Siew Lian Lim
Global Impact on the Survival of Wayang Kulit ... - Siew Lian Lim
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from <strong>the</strong> traditi<strong>on</strong>al lea<strong>the</strong>r <strong>of</strong> <strong>Wayang</strong> <strong>Kulit</strong>, but <strong>the</strong>y are not traditi<strong>on</strong>al characters from The<br />
Ramayana and Mahabharata, but ra<strong>the</strong>r figures from his own comic images; <strong>the</strong>se have been<br />
displayed as 2D works in exhibiti<strong>on</strong>s, as I have with some <strong>of</strong> my pieces. Like much <strong>of</strong> his work,<br />
<strong>the</strong> faces and heads are obscured or replaced by objects like rocks, <strong>the</strong> interior <strong>of</strong> a house, or a<br />
storm cloud. These puppets are distinctly surrealistic and carto<strong>on</strong>ish. They are not meant to<br />
portray specific characters but portray different characters in different stories. They are painted<br />
<strong>on</strong> <strong>on</strong>ly <strong>on</strong>e side in bright acrylic paint so that reflected colors are more distinct in shadows <strong>on</strong><br />
<strong>the</strong> screen and form a frame when puppets are hung <strong>on</strong> a wall. His approach towards <strong>the</strong><br />
integrati<strong>on</strong> <strong>of</strong> visual and performing art is exactly <strong>the</strong> opposite <strong>of</strong> my work and that <strong>of</strong> Heri D<strong>on</strong>o<br />
starting 20 years before Nugroho. Both D<strong>on</strong>o and I reframe <strong>the</strong> performing art <strong>of</strong> shadow<br />
puppetry as visual art. Nugroho's starting point is his visual art, mainly <strong>the</strong> carto<strong>on</strong>s he hangs<br />
freely in his art exhibiti<strong>on</strong>s, and he reframes <strong>the</strong>se as shadow puppet <strong>the</strong>ater. So, his work<br />
c<strong>on</strong>nects to mine in that he makes c<strong>on</strong>temporary shadow puppets to present stories that res<strong>on</strong>ate<br />
with c<strong>on</strong>temporary audiences.<br />
S <strong>Lim</strong>, Gotcha! 2012 S <strong>Lim</strong>, Taming 2012 S <strong>Lim</strong>, Going Home<br />
Where <strong>the</strong> Heart Is 2012<br />
In my work, from repurposed refuse material, I create stati<strong>on</strong>ary silent shadow puppets<br />
that move, brea<strong>the</strong>, and speak for <strong>the</strong>mselves. My free standing crafted pieces and shadow<br />
sculptures are inspired by <strong>the</strong> shadow puppetry <strong>of</strong> Sou<strong>the</strong>ast Asia. In <strong>the</strong> past, my figures came<br />
from The Ramayana. My current work is a narrative progressive self portrait <strong>of</strong> my quest for <strong>the</strong><br />
meaning and balance <strong>of</strong> life as represented by a cowgirl taming a wild stalli<strong>on</strong>. They speak <strong>of</strong><br />
restoring balance within by taming and training <strong>the</strong> wild stalli<strong>on</strong>, wild mind. The figures speak <strong>of</strong><br />
restoring balance with <strong>the</strong> envir<strong>on</strong>ment by repurposing materials that would usually be discarded<br />
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