As a professional sculptor working in Indonesia, how do you see the situation for sculptors and sculpture in a country which has recently experienced such political and social turmoil?

The ideas, content, and issues to make artwork have actually become much more interesting because the whole country and culture is in a difficult transition. The known becomes the unknown, and things which were certain have become uncertain, for example, assumptions about cultural issues as well as personal issues. Basically and naturally, people (and their attitudes) change with the change of government. And this time the change has been quite drastic. I think I, too, hopefully changed for the better.

In Terms of building or constructing anything, it has become much more expensive and the market for sculptures has become insignificant compared to other more important, immediate human needs such as food and medical care. Though I could not talk about sculptors who are using inexpensive materials, or others whose work is more conceptual, the most important thing is that the cost of making art in general has become very expensive. Many artists, including myself, have to think about alternative ways to make a living or to find a new market for their work. It is a very common thing for sculptors to have their contract either revised or put on hold indefinitely.

What do you see as the strengths and weaknesses of contemporary Indonesian sculptors today? Are there individual sculptors whom you feel are doing international standard work?

I think the strength and weaknesses of contemporary art in Indonesia is the term and understanding of contemporary art, which is very ambiguous. In a way this is very good, people can talk about which art works, for whom it works, and for what reason. I would like to free myself from the constraints and limitations of "contemporary art in Indonesia", which would make me feel freer to relate to human situations within cultures.

In terms of style, for me it is only a small part in developing one's own visual language. The weakness of this ambiguity is in getting a 'true' historical perspective of one's own art as well as truly communicating to the public and collectors about what is a truly fresh idea or an unusually interesting way of executing a piece of art.

The cultural context of making art in a culture where modern life and tradition coexist at many different levels is a very complex matrix. I often ask myself about where modern life starts and ends, as well as where the traditional starts and ends and how to try to understand the gray areas in between. Where to base my reality? Here is an issue I struggle with on a daily basis. Another question I often ask myself with regards to the nation of modernity and tradition is: Does modern mean Western? And what does "traditional" actually mean in reality? With these questions in mind, it is really difficult to define contemporary Indonesian art.

You were born in Braunschweig, Germany, in 1962, and have worked and studied in the United State and France, as well as different experiences and cultures influenced your work since you moved back to Indonesia in 1995?

Yes, a great deal. I became more interested in art, as well as other issues that originated from each culture. These are days when I am obsessed with understanding the work that came out of New York or Berlin or Paris. And there are days when I am astonished at the unintentional art making in daily ceremonies, for example, in Bali. Both of the worlds of "the modern" and "the traditional" are present in me without me consciously asking for it - through printed material, traveling, and interaction with peoplo, as well as just living there.