Rage Against The Machine

from AIR Magazine - Gama Aviation - April'23

Film

How the work of Indonesian artist Maryanto shines a light on a land transformed into darkness

WORDS: JOHN THATCHER

The success of Art Dubai, which staged its sixteenth edition last month, can be attributed in part to its inherent policy of championing artists who are broadly underrepresented in the wider art world. Often these artists showcase skills, practices and traditions that are dying out, lost to technology’s rapid advancement across the globe. In some cases, they’ll use these skills to highlight whole communities that are suffering the same fate, where the blame lies not with technology but with humankind.

Impassioned Indonesian artist Maryanto, who utilises a scratching technique similar to etching to bring his canvases to life, used his display space at Art Dubai to highlight an environmental and social issue dear to his heart and homeland. “My primary concern revolves around individuals in South Kalimantan who have lost their land and forests,” he explains.

“In the past, they used to live as a tribe and rely on the land to provide for their basic needs. The forest, which was once a source of food, shelter, and medicine for the community, is now almost entirely destroyed due to the expansion of the palm oil industry and coal mining in the region. Despite the efforts of the locals to protect the remaining forests, the palm oil industry’s rampant development persists, leaving the people to continue their fight and struggle as the encroachment of its forests continues.”

It’s a process that started in the 1970s, when the ruling government introduced a programme of transmigration, which brought in people from the island of Java to cultivate palm trees in South Kalimantan, clearing the land for industry. “The indigenous tribes in the area were initially taken aback by the government’s decision, as they believed that the forests were collectively owned by all members of the tribe, rather than individuals,” outlines Maryanto.

“But any opposition to palm oil production was met with punishment, including imprisonment or military action. As a result, the tribes reluctantly complied with the government’s demands. They were left with no choice but to follow the rules, which also required them to plant palm trees.”

Indonesia is the largest exporter of palm oil, accounting for 68% of the world’s production. But its damaging impact on South Kalimantan is marked. “During my first visit to the area, I was taken aback by the stark contrast between my expectations and reality,” recalls Maryanto. “I had always imagined Kalimantan to be a lush rainforest teeming with wildlife, where local communities lived in harmony with nature. However, what I found was an area heavily industrialised, where the environment has been irreversibly damaged.

“I spoke to local people who felt helpless in the face of the exploitation and destruction of their ancestral lands. They recognised that their land was being destroyed and they were being deprived of their livelihoods, but they lacked the resources and influence to make any meaningful change. They were powerless to stop the destruction.”

Maryanto reveals the tensions that lie within these lands through a tedious method of layering and scratching. “I start with a linen canvas and apply white gesso, before covering the entire canvas with black acrylic paint. I then scratch away lines on the black surface to reach the white underlayer and reveal my paintings.”

His monochrome paintings depict both the brutal industrialisation of lush forests and lost traditions. 2023’s Palm Spirt concerns a ceremony performed for the purpose of healing the village, honouring ancestors, and seeking blessings for the environment. Lasting from one to six days, it involves collecting 100 types of plants, leaves, and roots from the forests as offerings, which is becoming increasingly difficult to assemble as forests are cleared.

“I find black and white to be a powerful and direct medium that captures the essence of my artistic vision,” outlines Maryanto. “My inspiration comes from the Indonesian Mooi Indie paintings popularised during the Dutch colonial era, which depicted Indonesia as a tropical paradise, full of exotic beauty. However, my work seeks to contradict these once idyllic spaces that have been corrupted by systems of power and instead depicts the harsh reality of the exploited landscape and the destructive capitalist scene that has resulted in a dystopia.

“Unfortunately, many aspects of the situation are difficult to reverse. The community is struggling to protect the last remaining forest they have, which is located in the mountains and is not easily accessible for the development of a palm plantation. However, even the locals have become individualistic and egoistic, resulting in illegal logging that threatens the forest. Although there is always hope for change, it will be a challenging task. The community has become dependent on the capitalist system, making it difficult to revert to their traditional ways of life.”

Though it portrays the bleak reality, scratched into Maryanto’s powerful work is his hopeful message. “I wish to convey the idea that we can avoid being driven by greed. It is important to realise that our consumption habits have a significant impact on places and people from where these products are sourced. Often, we are unaware of the origins of the products we use and the processes involved in their production. It is crucial for people to be knowledgeable about the origin of their consumer goods and to be mindful of their impact on the environment and local communities. Palm oil is found in numerous products, such as soap, chips, bread, and cosmetics, and it is imperative for people to understand the consequences of supporting this industry. I urge people to respect the origins of the products they consume and take an interest in the impact of this massive industry.”