"It is birth that becomes fate. The cause of goodness. It was created from the mystery and prayers of a mother that lit up in the crown. I believe it will make my path more extensive than the universe."
Current work discussed in a panel during ARTJOG MMXIX - Arts In Common: common|space at Jogja National Museum in 2019
印尼日惹國家博物館於2019年舉辦 「ARTJOG MMXIX - Arts In Common: common|space」期間舉辦的研討會中論及本作
(instagrams
: @citrasasmita_work)
Metamorphosis: The Flowers of Carnage (2018) is an important work by Balinese artist Citra Sasmita, exploring the impact of a traditional society on the development and experience of women, and their role in society. Growing up in a patriarchal society and forging a career in the Balinese visual art world which is predominantly male, Sasmita is one of the few female artists whose work has transcended inherent barriers to achieve exposure and critical acclaim. In Metamorphosis: The Flowers of Carnage, Sasmita imbues her six partially covered female forms with a sort of spiritual power, each holding a symbol of nature and nurture. These include a stone, cactus, knife and scissors. Customarily used to cover trees, monuments or figures during traditional celebrations, it is interesting that Sasmita chooses to cover her figures with a floral, richly embroidered cloth, instilling the work with new meaning. Of further significance is the inclusion of the placenta, or ari-ari in Balinese, believed to be the younger sibling of the child that is born, typically buried close to the house. Additionally, white drips of paint trickle down from the feet of the six women, appearing as if roots that ground the figures, perhaps symbolising their rootedness to tradition, but which elements like the knife and scissors threaten to sever. Overall, Citra Sasmita eschews the stereotypical representation of Balinese women that derives from Bali’s colonisation and is reinforced by tourism, presenting a visually arresting, thought-provoking image.
「誕生即命運。善良的因源。它是從一位母親的神秘和祈禱中創造出來而燃點於冠。我相信這將使我的道路比宇宙更廣闊。」
2018年於巴厘島努沙杜瓦舉辦的「Celebration of the Future」群展中，藝術家與友人合影於本作前
(instagrams
: @citrasasmita_work)
《變形記：屠戮之花》（2018年）探討傳統社會如何影響女性的發展、經歷、以及她們在社會中的角色，是峇里藝術家西特拉・薩斯米塔（Citra Sasmita）一幅別具意義的重要作品。在峇里的父權文化中，峇里的藝術界亦同樣是由男性主導，而薩斯米塔是當中少數能夠打破這些固有障礙、突圍而出並廣受讚譽的女性藝術家。在本作中，薩斯米塔讓她筆下六位半遮半掩的女性各手持象徵先天自然與後天發展的物件，為她們注入某種精神力量。這些物件包括石頭、仙人掌、小刀及剪刀。值得留意的是，薩斯米塔選擇用一幅充滿花卉刺繡圖案的布匹覆蓋畫中的人物——這幅布通常是在傳統慶典中，用以覆蓋樹木、紀念碑及人像，因此薩斯米塔彷彿藉著這獨特的布匹，為本作帶來更深一層意義。本作另一個重要的元素，是其中一個女性手持的胎盤：峇里文化稱之為ari-ari，並同樣視之為小孩，通常會將其安葬於居所附近。除此之外，薩斯米塔讓白色油彩從六位女性腳下滴落，看起來有如穩住這些女性的樹根，也許這象徵著女性紮根於傳統，但同時她們手中的小刀與剪刀等物件亦威脅著她們與傳統的連繫。在殖民者的想像和塑造之下，峇里女性的形象往往賞心悅目、引人遐想，而政府為旅遊業的宣傳更是加深了這個刻板的性別形象；西特拉・薩斯米塔則拒絕這種套路，用引人注目的視覺效果表達出值得深思的主題。