But Mochtar

Acquired directly from the artist.
A unique edition of the Monument at the People's Representative Council (DPR), Jakarta.

The sculpture is in good condition overall. There are minor chips and nicks and traces of faint oxidation on the edges, although only evident upon close observation. No restoration has been done to the sculpture.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

But Mochtar’s oeuvre did not only feature paintings, for the artist created sculptures as means to explore the many nuances of the spoken language through a three-dimensional representation. The artist pioneered sculpture as an art form in Indonesia’s modern art movement.  Patung Estetik Elemen (Study of Esthetic Principles) is the miniature model of the monumental piece that stands in front of the People’s Representative Council (DPR) in Jakarta. The present piece was created in the 1970s, a period in Indonesia that saw an increase in the economy, and as well as an expansion in global relations. Mochtar’s appropriation of architectonic and geometrical aesthetics in his sculptures was expressive of the artist’s philosophy about the importance of unity amongst the Indonesia people.

The Bandung School actively pioneered Abstract Expressionist art since the Visual Arts Department was established at the Bandung Institute of Technology (ITB) in 1950. It was around this same period when Abstract Expressionism had begun to emerge within the American art scene, with artists such as Jackson Pollock, Clyfford Still, Willem de Kooning and Mark Rothko at the forefront. Indonesian artists studying in Bandung (West Java) experimented with combining their techniques together with the Western aesthetic styles of Cubism, Abstraction and Minimalism.

Mochtar was influenced by artists such as Picasso, Baraque and Gris, for their attention to Cubist aesthetics aided the artist in finessing his own personal creative vision. Author Enin Supriyanto once wrote about the artist’s oeuvre, “The tendency to arrange lines, forms, patterns and colors became one of the main strategies in the creative process of painters in the abstract style… in which objects are no longer easily recognizable. [Mochtar’s] experiences, ideas and emotions were turned into lines, shapes, planes and colors, without clear and exact references to any social form or condition.”¹ Therefore the artist deliberately used new sculpture as an art form to challenge the existing value system of that era.

Mochtar received training under the tutelage of Ries Mulder, an educator and painter at the Bandung Institute of Technology (ITB). He continued his studies at the Rhode Island School of Design (RISD) and Sculpture Center of New York, where he displayed an interest in a variety of sculptural styles that ranged from figurative to abstraction. During his early years as a student, Mochtar was exposed to many leading figures, such as Henry Moore and Richard Serra. Both men had a notable influence upon his artistic interpretations, ultimately establishing the foundation of sculptural esthetics.

Mochtar has used three significant foundations in Patung Estetik Elemen (Study of Esthetic Principles): the past, present and the future to symbolize the Indonesian People’s sovereign rights, hopes and unison. Portraying the concept of time as being the pattern of written history, and future accomplishments, the artist has succinctly articulated cultural patrimony and integrated it into a new paradigm. According to art critic Clair Holt, “Indonesia’s artistic skills, [the country’s] sense of form and colour, [as well as its] unique cast of thought can all be used to give life to the abstract ideals and values of the new era, though these uses may well be very different from and even in conflict with the values and ideals of the past…”.²

As keenly demonstrated in the present work, Patung Estetic Elemen (Study of Esthetic Element) engages the audience in a discourse about space as an aesthetical construct. Therefore the sculpture is an esthetic element, which serves to hold all the fundamentals together. The patrimony sculpture symbolizes strength, and is a harmonious link to Indonesia’s history and core cultural values. Other monumental pieces by But Mochtar can be found in the National Museum of Forestry, Manggala Wanabhakti in Jakarta, and Fort Canning Park in Singapore.

The connection that is intertwined between the three sculptures Patung Estetic Elemen (Study of Esthetic Element), corresponds to the existence of the past, and direction of the future. By embracing an existential framework, Mochtar encourages his viewers to comprehend the notion that everything is connected, for each individual’s actions has an influence upon their neighbor. Thus by acknowledging the importance of the past, present and future principle, the audience is made aware of their role in society, and the lasting impression that their actions have upon future generations.

¹Enin Supriyanto, The Journey of Indonesian Painting: The Bentara Budaya Collection, Bentara Budaya, 2008, p. 18-19

²Clair Holt, Art in Indonesia, Cornell University Press, 1969, p.213-214