When Anusapati returned from the US, he brought along a new spirit in creating sculpture, that was to explore a consciousness of ethnicity. He worked in particular to focus on his attention of the field of wood as his material which is combined with ideas on the local/traditional - and for that as well he has been recognized as being a significant sculptor of today. In the middle of stagnation in Indonesian sculpture which includes the aspects of artistic and esthetical explorations, Anusapati stands out with his strong spirit and characteristics.

Anusapati's works show a smart strategy of visualization, that is to make an encounter between the ideas of the 'present' which tend to contain social issues and the idioms of 'the past' with their local colours. This kind of tendency can also be seen in a broad sense in the area of contemporary art. Through materials of wood (and also bamboo), and with familiar forms - especially for the rural Javanese society - that remind us to functional objects such as plow, kentongan (bamboo drum), dakon (traditional game), wooden wheel, bubu (traditional fishing instrument), Anusapati is actually offering basic issues that are threatened to become obsolete. In his view, all this time we (the Indo