Puppets, masks reinterpreted through paintings

Rahwana stands in the center of Rahwana’s Lies, a painting by American artist Ross Weber. The red-faced character grins, waving his left hand to an unseen character at the right side. In his right hand he hides something behind his back; a hissing cobra next to him looks to see what it is.

That is one of the paintings displayed at the Four Seasons Hotel, Kuningan, Jakarta. The exhibition, titled “Indonesian Icons”, features Ross Weber’s paintings of puppets, masks and brides from Java and Bali.
Courtesy of Ross Weber

Many of his paintings are portraits of characters from the great Indian epics that are featured in Indonesian drama, especially in wayang golek (wooden puppets). Ross tries to explore the conundrum of separating the puppet master from the puppet, and separating the dancer from the mask.

He describes his paintings as an interpretation never meant to be an improvement of the object’s craftsmanship. The inspiration comes from an intention to express his thoughts and emotional responses to the diverse situations Indonesia offers, visually.

Using colors to convey emotion, Ross interprets his paintings as works of art and as cultural symbols.

Ross has been collecting puppets and masks for 20 years in Asia, including in Indonesia. In 1995, he settled in Indonesia; he began painting Semar eight months ago.

“From its appearance, Semar looks like a clown, but he dispenses a very great wisdom. He speaks truth to powerful people. He is the voice of the common people,” said Ross.

Aside from an interpretation, Ross said his paintings are also about manipulation. It is a manipulation of how people think they have control over everything they do. In fact, the society — just as the dalang or the puppet master — takes control of them.

The dalang manipulates the puppets and speaks their words, said Ross, just as the control over individuals is held by powerful forces. Like the unseen, these forces manipulate people’s behavior using superstitions or obligations.

“The people have individual freedoms, but then the society — such as the family or superstition — takes control,” said Ross.

Perhaps, that manipulation failed to be applied in Brave Bima. In the painting, the unseen dalang made Bima put his left hand at his hip. He grins and raises his eyebrows. He looks too relaxed to be called Brave Bima. The bright colored pattern surrounding Bima that was used to describe aura seems too cheerful.

Meanwhile, Ross also explores Balinese masks. Most of his paintings feature the mask without the dancer. He uses bright and colorful inks for his paintings, and successfully enlivens most of the masks without the dancer.

Ross latest painting was titled Javanese Bride in Garden. It is interesting, as it the bride is different from other brides. Her eyes look out, smiling innocently. It can be perceived as a tempting smile, too. Behind her a red snake hisses. The snake represents danger and also regeneration.

The Javanese bride is a portrait of someone Ross knew and who he became very attracted to. He took a portrait of a woman, painted it and then added a bridal crown. With its ornamental jewelry, the crown makes the painting even more fascinating.

The writer is an intern at The Jakarta Post