Kupu Keramik


Welcome bin wilujeng sumping di blog Kupu Keramik with Natas Setiabudhi
. Blog ini berisi curhat ataupun sharing teknis tentang keramik art dan craft
juga hal-hal lain berkaitan dengan keseharian penulis. Bila ada uneg2 mangga pamiarsa komentaran secara blak-blakan..any comment I will accept openly..

Best,

Natas Setiabudhi

Wednesday, December 26, 2012

The Second Jakarta Contemporary Ceramic Biennale, 2012

The second Jakarta Contemporary Ceramic Biennale was held on December 21 - January 20 2012 at Museum of Ceramic and Nort Art Space, Jakarta, Indonesia. The participants are from many countries, totally 46 artists. 

The aim of the Jakarta Contemporary Ceramic Biennale II, through the theme "Crafting Identity, is to attempt to engage in discourse about identity. "Crafting" refers to the practise of creating works using one's craftmanship abilities. Here, "Crafting Identity" is intended to mean any craft practise exercised to create an "identity". 

In addition to identity issues regarding the forms and techniques of ceramics, the issues of identity within the curatorial of "Crafting Identity" can be specified further. Issues range from Identity and its connection with discourses of spirituality, discourses of body and gender, discourses of art and memory, the culture of consumption (consumer culture), it's relation to production in work culture, historical reference, postcolonial condition, diaspora experience, locally and globality; and urban/industrial experience.The description of above is the quote of curatorial statment of Sujud Dartanto (Exhibition Curator). For further information you can visit the blog jakartacontemporaryceramic.wordpress.com

Tok Yu Xiang, Singapore

Micheal J. Doolan, Australia

Antonio S. Sinaga, Indonesia

Natas Setiabudhi, Indonesia

Vipoo Srivilasa, Australia-Thailand

I Made Arya Palguna, Indonesia

Maman Rikin, America-Indonesia

 Esnur Fauziana, Indonesia

Maria Bosch Perich, Spain

Friday, November 30, 2012

Tour of Ceramic Village (Plered, West Java)

Menuju tempat pengolahan tanah liat

Seorang local guide sedang menerangkan proses pengolahan tanah liat







Tungku bak.

Seorang perajin sedang loading produknya menggunakan tungku bak

Kunjungan mahasiswa ke salah satu perajin di sana

Sudut sebuah workshop di Plered

Sudut sebuah workshop di Plered

Diskusi antara perajin dan staf pengajar dari Kriya keramik ITB

Recently, we visited to ceramic village at Plered, Purwakarta City, West Java province. We are as a group of college students kriya keramik of ITB (Bandung Institute of Technology). They were 16 students and accompany by 4 lectures. From Bandung to Plered it takes 1 hour and half by bus. This activity is one of the program to the students for introducing the method of traditional ceramic makers. They have a good craftmanship and sometimes find a way that was unthinkable by students. They were introduced the common technique and facilities in some places. Looking around the clay sources and learning how to produce the workable clay by simple machine. And then came to the production places saw the facilities like the kilns, simple press machine and tools, etc.  

Plered is well known as a community of decorative ceramic. The forming technique what they use are pinching, coiling, press molding and throwing. But the most popular technique is throwing. To fire the pot they use woods as a fuel. The kiln is very traditional, just used red bricks for the construction and at the bottom there are some fire pits to put the fuel. Five years ago they have supporting from the goverment for the kiln. They got some modern kilns, used ceramic fibre and stell construction, but the fuel still from the woods. They don't use the plate for stacking and the glaze for the color, so the wares just stacked each others. For the colors they use paint (thinner base). What the carpenter or car painter need for their works also done by decoration man in the ceramic village.  

In Plered threre are 3 regions that have different uniqueness for each,  i.e. decorative ceramic (Anjun village), traditional vessel (Lio village), and vase specialities (Gunung cupu village). They use earthenware clay and will be red when fired.The products besides for the local market, they usually export. The destination are the middle east, Europe and America. The products are decorative ceramic only and mostly  flower pot and vase.




Thursday, November 15, 2012

JAF Gallery, Jatiwangi

Ahadiat Joedawinata, Bandung

Hendry "Henk Henk" Herres, Bandung

Natas Setiabudhi, Bandung

Nia Gautama, Jakarta

Endang Lestari, Yogyakarta

Nita, Majalengka

Tisa Granicia, Bandung

From 9th until 16th Nov 2012, I had a group exhibition at JAF gallery, Jatiwangi, Indonesia. The exhibition is one of part Ceramic Music Festival 2012 program series. Besides that, there are workshops, colossal musical, and seminar. Jatiwangi is one of city in West Java and well known for traditional roof tile center (local people say genteng). JAF stands for Jatiwangi Art Factory, a community base on art, education, social, and culture. The program almost always involves the local people.

In mind of most people of Indonesia, Jatiwangi is center of traditional craftsmens of roof tile. They are the pragmatic people, just making, offering and selling the products. They don't concern properly about knowledge and intellectual content. So the JAF broke the paradigms, making an alternative community. The last 4 years, many contemporary artists came to JAF for making activity, workshops and collaborating with the local people, either from Indonesia or abroad. 

The exhibition participants from various city in Indonesia, such as Bandung, Jakarta, Jogjakarta, and Jatiwangi. At least 10 participants. The art works are the contemporary ceramic in Indonesia. The clay that we used are eathenware (local clay) and stoneware.        

Thursday, October 25, 2012

Landscape #2, My Solo Exhibition

This is my first solo exhibition. The exhibition was held in S 14 Gallery, Bandung, Indonesia, from 17 October until 7 November, 2012. For the art work, I made an ceramic installation, the space is filled by modules of cubes, almost the whole exhibition. There were two configurations for right and left sides, positive and negative polar. If each side is adjoined they become united or clop (mirror effect).

Actually my art work tell about a landscape of houses in urban environment. If you see from the top (bird view), the houses just like a simple form, the cube and the prism (pyramid) at the top. So I took the essence of the house form. 

I made 3 modules / form, i.e. positive, negative,and neutral. Then each module was repeated by certain numbers. The positive one is in left side, the negative one is in right side. Total modules are 665. I used white stoneware for the art work. Dimension of module are long 10 cm. wide 10 cm. and high 4-8 cm. I used zircon for opaque white glaze and fired to 1230 degree (celsius).

The gallery is quite small, 10 meters square. In Bandung, S14 is a well known alternative gallery. The owners are Herra Pahlasari and Aminuddin Siregar (a well respected curator and art writer in Indonesia).








Sunday, September 9, 2012

Pameran Kriya Indonesia 2012

This Exhibition was held at National Gallery of Indonesia



“REPOSISI”

14-24 September 2012
Pameran ini hendak memperlihatkan posisi (dan reposisi) ke-kriya-an dalam perkembangan seni rupa kontemporer, praktek desain, serta lingkup persoalan warisan tradisi budaya dan kemajuan industri. Pameran ini hendak memetakaan soal keragaman pada potensi kriya Indonesia dalam rangka pengembangan industri dan ekonomi kreatif Indonesia (Pengantar kuratorial: Asmudjo J. Irianto dan Rizky A. Zaelani).

Pameran ini diikuti oleh 60  kriyawan yang berasal dari Jakarta, Bandung, Jogja dan Bali. Medium ekspresi yang digunakan diantaranya keramik, kayu dan tekstil. Dilihat dari karya / produknya didominasi oleh kriayawan berbasis kriya individual bukan kriya tradisi. 
(Foto: Landscape #1, Natas Setiabudhi) 





Sunday, July 29, 2012

Dipping with Pussycat




When I work, my pussycat always accompany me. His name is Sotoy. The picture shows preparation for glazing the pot. The application technique is dipping. In my workshop, dipping is the main technique, besides spraying and pouring. Dipping and pouring I think the safest technique for applying the glaze (healthy factor), moreover the workshop doesn't have safety facility, such as spray booth, no good ventilation, masker etc.

As long as the pot can be dipped or poured, don't spray it. Besides the description of above, spraying is more complicated and needs extra energy, especially in the preparing process. Sometimes if we lack expertise in spraying, the layer is too thin and mottled. We must have principle for practicality, any shape can be dipped or poured with any support either by hand skills or tools. Spray may be effective if the pot has large size.               

Glazing for the most people is the most troublesome activity. Impatient people may not be appropriate for this activity. In glazing we must doing carefully and neatly. Doing the glazing improperly will yield an unsatisfactory final result. May be there are people who disagree of this statement, on the contrary is the most pleasure activity. How about you?                    

Saturday, June 2, 2012

Making "handle" by Pulling

1. Shape the clay like a carrot
2. Grasp, squeeze and pull gently
downward the clay with water 







3. Keep pulling to extend
4. Leave for a few minutes
5. Cut into pieces
6. Bend into circular shape
7. Handle in complete
8. Ready to attach to the mug




































Usually when we make a handle for a mug or teapot, we just coil the clay. Sometimes it looks little bit weird as a whole of form. There is an alternative for that, i.e. by pulling the clay as description of above. The result are more elegant and natural. To get this ability only one word, practice.

When you bend the long clay sometimes the clay cracks (fig 6-7). You can add a little bit dampness the clay by water. Another problem is attachment handle to the body of the mug or teapot.  Often the bond between body and handle not quite good. The bond will have cracks or separate when they dried in the leather hard state. The causes could be that you don't damp both handle and body or damp one side handle or body only. The standard procedure are scratch the body and apply a  fluid slip into both. Actually just smear with water is enough making in good bonding. For this you can use toothbrush. The point is you must damp both sides, use water or slip.