Bernauli Pulungan graduated from the department of sculpture, Faculty of Visual Arts, of Jakarta Art Institute. The lecturers at the institute--some of them senior sculptors--introduced him to the basic principles of modern art, by way of analysis on realist and abstract sculptures. These two tendencies have indeed given much influence on the development of modern sculptures in Indonesia.

Bernauli, however, was free from these influences. His works are neither realistic nor abstract. He thinks that the two major streams have put too much emphasis on the aspect of forms. They focus only on one side of the reality and ignore other possible realities. Bernauli, on the other hand, believes and tolerates various realities. His works appear to be wild and cannot be tamed by the rationality of forms or by the strict codes and norms of modern art.

The spirit of pluralism that was regnant during the eighties gave a strong foothold for Bernauli's works, which were tolerant to all possible visual aspects. For a period, Bernauli depicted figures as symbols; he was not after some realistic looks. In another period, Bernauli created irregular forms that appeared to be clashing with each other. In such chaos, Bernauli believed, some orders were hidden, just like in the nature.

His close association with the nature makes this sculptor-cum-mountain climber sensitive to every object he finds in it. He sees matters such as rock and wood as things with some human traits. Often he does not change the form of trunks he uses in his works.

Bernauli has this old habit of forming a close relationship with his medium. It will be easy to regard this as a return to the old traditions, or as a going back to the romantic past. But Bernauli has no such intentions. He is actually moving around the complexity of the values from his life in the village, his modern education in the city, and his Islamic belief mingled with the secular living.

This rich cultural background serves as a strong support for him. He views his experience in conducting prayers, for example, as something monumental. He finds the sense and feeling of "something monumental" in sculpting, and they do not necessarily need to be manifested in realistic forms. Bernauli thinks that he can always choose other ways.

In this biennale, Bernauli displays his work, Sakratul; Perjalanan Roh (Sakratul: Journey of the Soul), a sculptural installation of six teak trunks. He lets the trunks stand in their original inclinations. This, after all, is the logical desire of nature: the trees are always sloping towards the light. At the top of the trunks, Bernauli creates something that resembles a bird fluttering its wings, preparing to fly. In other parts, he carves the forms of leaves. These are all the symbol of life and something at its end: Death. The journey towards light, towards the boundary between the creations and Creator.

Chandra Johan

Born on June 17, 1950 in Padang Sidempuan, Indonesia.
Studied at Jakarta Institute of The Arts (IKJ) (BFA; 1981).

SELECTED EXHIBITIONS
1998 Indonesia Triennale Contemporary, Jakarta; Ismail Marzuki Park (TIM), Jakarta.
2000 Sculpture 2000, Culture Park, Yogyakarta; Beaut Gallery, Jakarta; "Sculpture" by Jakarta Sculptors, TIM, Jakarta.
2001 "Sculpture" by Sculptors, TIM, Jakarta; "Sculpture" by Indonesia Sculptor Association, National Gallery, Jakarta; "Sculpture" by Landmark Design, Ancol Gallery, Jakarta; "Metro Mini I", Millenium Gallery, Jakarta.
2002 Metromini Community, TIM, Jakarta.

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