Sri Astari (b. 1953) studied painting at the University of Minnesota in the United States and at the Royal College of Art, London, but went on to expand into sculpture and installation.  Astari is concerned with the re-reading of Javanese traditions, its symbolism and values.  Inspired by social and political issues as well as consumerism and lifestyle, she continues to challenge stereotypes and cultural construction, with a tinge of humor, giving new meaning to Javanese traditional symbolism.  Her work pays special attention to the position of a woman within her cultural traditions.  Recurrent themes have been the kebaya and its accessories, both repressive and protective and branded bags as a metaphor for modern fetishism.  Lately, she has given the kebaya new meaning, calling it “armor for the soul”.  Her recent works show a more philosophical tendency, highlighting the need to reconcile the self with nature and the universe.

Within the Javanese cultural and philosophical realm, Sakti symbolizes the power of the South Sea Queen, who’s strength is believed to be behind the Sultan’s power, as well as within each person.  This became the artist’s metaphor expressed in the pavilion installation Pendopo: Dancing the Wild Seas with seven Bedoyo dancers.  The Pendopo is the fundamental element of Javanese architecture.  In the palace there used to be the sacred space where the Sultan was anointed with the South Sea Queen’s invisible presence, power, and blessing. In the commoners’ house, pendopo is where visitors are welcomed and ceremonial events are held, a sort of antechamber.  For Sri Astari, it is a metaphor for the soul.  To find one’s identity, one has to look intrinsically to find the power that is believed to be present within.  According to Astari, it is essential for everyone to “switch on” that power if the human race is to survive beyond materialism.