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Busway, Penembus Kemacetan
(Busway, Traffic Puncher)
65 x 18 x 30 cm
Ceramic (stoneware)

Euphoria-ria di Metropolutan
(Gleeful Euphoria in the Metropolutan)
60 x 18 x 35 cm
Ceramic (stoneware)

Urbanisasi (Urbanization)
62 x 19 x 35 cm
Ceramic (stoneware)

Mereka yang Terpinggirkan
(The Marginalized Ones)
65 x 19 x 30 cm
Ceramic (stoneware)

Kereta Penantang Maut
(Death-Defying Train)
60 x 19 x 35 cm
Ceramic (stoneware)

Sri Hartono

Sri Hartono (born 1935 in Solo) started to paint actively in 1954. Two years later, Sri Hartono went on to study painting at the ASRI—the now Indonesian Institute of the Arts (ISI) Yogyakarta—and graduated in 1960. He has taken part in several group exhibitions, such as: "Creative Ceramics from 4 Cities" in the Art and Ceramics Museum, Jakarta (2005); "Creative Ceramics" in the same museum (2003); "Save Our Ocean" at the National Gallery (2001); and terracotta sculpture exhibition "Traces of Soil and Fire" at the National Gallery (2000).

Why transportation? Because transportation system reflects the communal or the nation's characters. Transportation is the end result of all the social, cultural, political, and economic frictions. In a developing country with inadequate transportation system and means, chaos rules.
The local government tries, but has not been able to overcome this chaos. The government's endeavors to handle traffic jams and maintain the city's beauty through forced-replacement of people, are depicted here in my work: Mereka yang Dipinggirkan (The Marginalized Ones). Here I portray a truck full of things and people.

In a developing world, where there is a huge discrepancy between work facilities in the cities and those of the villages, urbanization takes place. I depict this phenomenon by using a classic bus full of people.

In our society, with the still-solid agrarian culture, the place of birth is unforgettable. However successful one is in the big city, he or she will not be able to erase the "dove spirit"—the spirit to return home. Thus the yearly current of people returning home.

In Jakarta, there is less and less land to be used for housing. Therefore, many workers reside outside the city. During the busy hour, trains to or from Jakarta are chock-full; people even sit on the roof, and are thus prone to accident.

The efforts of the local government of Jakarta to reduce traffic jams and increase people's comfort by means of busway, are depicted here in my work, Busway Penembus Kemacetan (Busway, Traffic Puncher).

Lastly, I portray the reformation era using the image of a metromini full of demonstrating passengers, in the work titled Euphoria-ria di Metropolutan (Gleeful Euphoria in the Metropolutan). (Artist's Statement)

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