Matheos Viktor Messakh , The Jakarta Post , JAKARTA | Thu, 04/16/2009 12:43 PM | People
Elena Surdu Stanescu likes to speak of her mind. The debut of her work in the country is not the only reason why this Romanian sculptor is thrilled to be in Indonesia.
She is excited by the country’s rich tradition of sculpture, which she refers to as a personal “spring of inspiration.” But, at the same time, she laments the poor preservation and development of the country’s artistic heritage.
With just a few days in the country, the 67-year-old artist and art critic has noticed the Indonesia’s diverse and rich wooden sculptures, which although probably familiar to many people, go unnoticed.
“There are lots of symbols and a variety of traditions. A huge cultural background has been imported into the sculpture tradition here but I believe that Indonesia fails to explain its own cultural heritage to the world…,” she said. “You have a lot more to show.”
Stanescu said that before she came to Indonesia for her exhibition, she visited the Indonesian embassy in Bucharest to find information about Indonesian art - but to no avail. “They had just held a tourist exhibition and ran out of books about Indonesia.”
The prominent Romanian artist, who has had more than 50 solo exhibitions around the world, said the main problem with the development of Indonesian art is not its substance but its management.
“I saw a lack of cultural management and there use to be the same problem in Romania after the fall of Communism. Financial problems and lack of knowledge on how to do a cultural event, how to promote or represent an artist at an international level is a main cause,” said the woman, who was once a director general of The Romanian Ministry of Education’s art department.
Stanescu said Romania solved their problem relatively easily as they had the great fortune of being able to learn much from their European counterparts.
“It was quite easier for us because Europe is much more interconnected and the distance is not that big,” she explained. “But Southeast Asia is not that much integrated.”
What Indonesia needs to do, she said, is simply to improve cultural management. “Because the substance is there, the artists are there, they just need to get better management.”
Stanescu praised the existence of the puppet museum but she said the knowledge of how to make puppets should also be preserved.
“It’s a pity that the wooden carving was not given the same treatment. Where is the wood museum, craft museum? Indonesia has a very strong and very rich tradition of wood sculpture but there is no museum of traditional working techniques, especially in wood.”
The woman, who organized an international art competition in Bucharest between 1992 and 2000 also criticized Indonesian’s museums, as she says that while they are beautiful and have large halls, many of the rooms are empty.
“I have been to a fine art and ceramic museum recently and three big rooms there are just empty. It can be better if you rearrange them,” said the woman who owns Bucharest’s Fundatia Culturala Elena Surdu Stanescu, a cultural foundation which organizes exhibitions and cultural exchanges between French, Italian and Romanian artists.
Born in Bucharest on Sept. 15, 1942, Stanescu finished her study in fine art at the Institute of Pedagogy’s faculty of fine art in Bucharest in 1965 and then became a teacher of sculpture, a position she held until 2000.
In 1980 she studied sculpture at the Nicolae Grigorescu Fine Arts Academy in Bucharest and ten years later became a full member of the Romanian Union of Plastic Artists.
She has also been a member of the International Society of Artistic Education Teachers of Insea-Unesco since 1970 and is the founding member of the “Elena Teodorini” Foundation.
Her works have become part of private collections in France, Italy, Malta, Switzerland, The United States, Hungary, Romania and Ireland.
Her works of art – in clay, wood, bronze and marble – with titles like Taking Flight, The Art of Conversation, Moment’s Thought and Erosion of the Thought, always come out of deep meditation and love and point to the multi-faceted nature of the human mind.
“I’ve always loved watching human faces, the emotions and the expressions. They form the basis of my craft,” she explains.
Stanescu said Romanian artist Constatine Brancusi influenced the modernity seen in her work, which is combined with a strong influence from classical Egyptian and Greek art.
From the age of 20, she has traveled extensively throughout the world and this experience has
created what she calls an “interior laboratory.”
“All the images that linger in my head are the most influential in my life than the other antique or classical influences. They are reminiscent of me. If I see a beautiful legs or beautiful hand, or beautiful idea, they do not immediately translate into a work of art but they will eventually come up later.”
Stanescu says her works are always personal.
“I’m getting the idea from one side or the other but I decide my own path. What lies ahead, I don’t know, but what always matters to me is to express my true feelings.”
“It’s the only way you can communicate with the public. If you try to create an art work that does not express your thoughts or your feelings, the public and the critics will eventually realize that it is something fake and that you are not connected with it.”