An Invitation to Peace
A Photography Exhibition Photomontage
ABOUT THE ARTIST
M. Bundhowi Born on the fertile island of Java, Bundhowi would come of age during the Suharto regime when artistic freedom was repressed in the name of order. Violence through images in the comics and movies, coupled with the heroic and sometimes horrific history of Indonesia impacted Bun’s arts tremendously.
Photography
Exposure to the Indochina refugees, and living and working with them for
five years took him to a turn where he started painting images of peace – a
positive rebuilding within humans. What was intended at first as a
therapeutic art for the refugee children, then developed into stronger
messages of peace. During his assignment in the refugee camp Bun
conducted a number of art activities for the refugees and a number of
painting and photography exhibitions. After the cathartic experience of
working for more than five years in the camp, Bun makes art solely for the
purpose of promoting images of peace and beauty to combat the constant
bombardment of images of war and suffering.
It makes absolutely no difference what other people think of you.
Bundhowi’s use of striking photo-montage involved the manipulation of 100 or more
layers of photographs. In his current work he often includes images of statues that
he photographed around Indonesia and Indochina. He explains that those symbols
saw in different ancient temples or places of worships can be used as a symbol of
universal peace.
Further, he says, his photography is about universal humanity and spirituality.
.
“What I try to convey through each of art work probably reflects my observation and
concern about catastrophic events, be it natural, social or political resulting as
conflicts and war befallen on Indonesia and in other parts of the world.
However my photography is not and never about the catastrophe it self. What I want
to convey is about how one can stand up again after an apocalyptic event.”
Each of Bun’s art work in this series is about rebuilding. This rebuilding or resurrection of disaster is illustrated with the many poles that he created from the shots and then placed underneath the fallen statues. The poles represent support, strength and desire of rebuilding that everyone touched by the disaster has.
“If the catastrophe is ecological then the rebuilding is about making peace with nature. If it is political, conflict or war then the rebuilding is to create the peace among people.”
Each art work features full or part of statues. The objects photographed were already in those forms, meaning that Bun did not distort or cut apart with his techniques. Then mixing them with different backgrounds to create a meaning for the viewers. The backgrounds from Indonesia , Australia, Laos and Cambodia.
Perhaps the statues are reminiscence of the glorious Nusantara in 7th and 8th centuries.
“To me, the hand in the calm position represents what people may call as a prayer and chanting for inner or outer peace. The foot symbolizes the steps that everyone has to take toward peace. The prayer, the chanting and the marching then become a universal language for humanity. This is a language of peace.
The Balinese believe in the Sekala (seen) and Niskala (the unseen) realm. After the
bombing many Balinese people conducted cleansing ceremonies at the beaches and
at the bomb sites, because they viewed the bombing as an act of the evil spirit
inflicted toward a place considered leteh (spiritually unclean). The procession was a
spiritual request to the deity, and I joined in the prayer for the safety, security and
the peace of Bali and all people. With terrorism and wars everywhere on this globe,
the world is getting more and more unfriendly. It is so sad to see and feel that there
is too much obsessions with wars and conflicts. Almost on the daily basis, our TV,
magazines and other means of communications are dominated by images and news
of wars, conflicts, and suffering. Energies are spent in creating mental insecurity to
imprison people in their own mind.
As an observer
to the culture
where I live now
in Bali, I want to
visually help
people of other
cultures to see
its beautiful
images thatrepresent a
cleansing
ceremony in the
Balinese Hindu
tradition.
The Quest in the West was taken in Sydney.
Collaged with statues from
Batubulan, Bali, the piece
signifies a spiritual
endeavor for peaceful
mind. – kedamaian. It also
represents a symbolic
condolences for the people
of different culture and
believe victimized by
atrocity. The statues
represent the ancient
peace we all knew once.
Imagining Jimbaran I: Quest for Peace is probably best describes as an obsession of peace.
This shot was taken at other early mornings in Jimbaran. During my shooting of scenes of the fish market in kedonganan beach, the faraway sound of the gamelan traditional music floated to my spot.
My instinct said it could be another shot opportunity and I was right. In
three trucks fully packed with Balinese worshippers, the crowd slowly turned silent
when they arrived at the beach. The sun was not rising yet when the priest started
the ceremony.
The photography in these series resulted from my inner contemplation after the Bali Bombings. Working first as a volunteer at the Sanglah hospital , then as a cultural and language interpreter for the world leading magazines and newspapers covering the bombing and later covering the Bali recovery efforts, I had the opportunity to witness the result of the atrocity and the community efforts in recovery.
I was particularly impressed with the wisdom of those who could restrain their anger
and the call for retaliation.
The shot was
the last step of
the ceremony
where a few
chosen men
had to do the
larung – giving
the offerings
(and scattering
the ash of the
deceased into
the ocean) as
the sun was
rising. This is a
process where
the departed
human unites
with his
spiritual nature.
Imagining Jimbaran
III: Ocean of Tears,
Ocean of Peace
The front ground for was
taken a few early mornings
after the 2nd Bali Bombing
in Jimbaran, with back
ground of the fishermen’s
boat that came home after
a night fishing.
Imagining Peace: Remnant of the Ancient Peace
In its long history of creation (evolution) different great religions played important roles in creating the identity of the people and the unified nation.
Yet, amidst the situation plagued with difficulties, the people sometimes
misused and misunderstood their own ideology and as a result inflicted suffering on
others.
This piece is also a calling for everyone to have a journey to their inner peace and tolerance.
This image was taken around 5 am at the Rawa Pening lake, Salatiga, in Central Java.
I spent the whole night at the lake preparing the early morning shots. The piece reminds me of the centuries past when Indonesia (Nusantara) was still free of the political and other catastrophes. It represents a symbol: the man in the boat is going home from fishing the night before.
In this peaceful setting, I interpret it as a search for peace. It may also represent a nation in motion – the creation of Indonesia as a country.
