Collaborative Art
Anna 'Niblic' Heggie talks to Sonia Caeiro about Indonesia, art and terrorism
from Coastal Arts Volume 08
THERE is no doubt that the Bali bombings of 2002 shook the Pacific region in a profound way. The tragic loss of many Balinese and Australians was, and still is, deeply felt, and for many artists the tragedy became a catalyst for artistic expression.
For painter and photographer Anna 'Niblic' Heggie it heralded not only a new way of artistic collaboration but a way of resolving the tumultuous emotions she experienced at the time, when, having spent time in Bali, she left for nearby lava the night before the bombing.
Sydney born Heggie has been an art teacher, academic and practicing artist for 25 years.
Her upcoming exhibition, Kedamaian III, is a travelling, evolving exhibition of photographic and mixed media works in collaboration with Canadian artist Sandra Phillips and Indonesian photographer, Muhammad Bundhowi. Already a long time friend of Bundhowi, Heggie met Phillips during a cultural exchange exhibition in Ubud in 2002 which was Heggie's first foray into the painting/photo multilayering technique in which she has since become expert.
"It allowed me a greater flexibility to travel with my work," she explains. "Being able to exhibit prints which encapsulated both my paintings and photographs was liberating. With canvas paintings the cost of exhibiting them overseas is just so prohibitive."
Her initial enthusiasm at her reception in Indonesia was soon replaced by paralysing shock when the bombings occurred the night she left Bali for Java. Upon her return to Bali a week later Heggie found Bundhowi’s life in turmoil. He had spent much of that time assisting police in identifying the corpses of friends and neighbours. Later he worked with Scotland Yard as an interpreter..
"It wasn't until we got home that the full impact really hit," she recalls. "The media frenzy, the whole war on terror thing, the government responses here and in the US really irked me deeply."
In mutual frustration Phillips and Heggie began collaborating - which soon grew into a project involving the three artists.
The resulting work was an exhibition entitled Kedamaian I in Toronto, Canada in 2006. This was followed by Kedamaian II at the prestigious Rudana Museum showing later that year alongside a large scale Masters of Indonesian Contemporary Art exhibition.
Kedamaian is derived from the Indonesian word 'damai' which means 'state of the soul' within the ancient Sanskrit context of 'harmony with self, nature and the environment'. Issues of global peace, reconnection and cultural understanding were explored by the three friends as they discussed their feelings and fears.
A supporter of artistic cultural interconnections, Heggie believes it is important for young artists to realise the potential in such exchanges. She has had a strong interest in global cultures and the notion of 'identity' for a long time.
"I realise now that this probably stems from my parents being immigrants from Poland," she explains. "I am proud of being Australian; however I've always seen the need for greater expressions of understanding and acceptance of all peoples, for the world to become a better place:"
A Kedamaian IV in Indonesia is in the works for late 2008 and promises to be a high profile lavish affair as part of a fundraising event for BIWA, a major children's charity.
With prestigious guests, political and cultural figures likely attendees, Heggie is almost more excited about the show's profile growing within the arts community itself than the show. "There are very few women photographers in Indonesia", she says. "So we're finding that the momentum gathering within the scene, with galleries and other artists, is very gratifying."
Muhammad Bundhowi is flying to Australia for the opening of Kedamaian III. It runs from 11 April to 3 May at still@thecentre Gallery in the Byron Bay Arts and Industrial Estate.
