Rodney Glick works with Indonesian wood carvers: Is Everyone for everyone?

[Kevin Murray]

Rodney Glick is one of an increasing number of artists working with Indonesian artisans, particularly wood carvers. For a recent Perth exhibition, Rodney commissioned a Balinese wood carver called Made Leno from Kemenuh south of Ubud. He asked Made Leno to carve a life-size version of the multi-armed Hindu god, but based on likeness of Western figures, including himself. This involved quite a technical leap, as traditionally these statues had been made only of iconic divine figures. There was quite prolonged and open negotiation about price and cultural sensitivity, and with time a beautiful carved figure began to emerge.

But there were unintended consequences. A nearby stone carver started also to make likenesses. Local Balinese started to inquire whether they could have statues made of their family in this manner. Rodney became concerned about this. According to his collaborator Chris Hill, 'We have talked to the carver about this and he accepts our point of view that Rodney should retain some control over works done according to his idea, not because he wanted some financial reward but to protect the integrity of the concept.' They cited the uncontrolled production of Australian Aboriginal artefacts in Bali as a sign of how copying can get out of hand.

Rodney is not dogmatic about this control. He has become involved in many other projects in Bali. As well as showing the work locally, he has helped start up valuable agricultural projects.

But this case does reveal a contradiction between the Balinese and Western creative economies. Artists like Rodney are attracted to Indonesia partly because of the ease with which it is possible to get things done. Artisanship there doesn't come with legal strings attached. No contracts are necessary - it's a personal thing . Yet taken to its limit, such a system can undermine the Western creative economy that artists like Rodney depend on. If the market is flooded with imitations of his work, then the one-off art works are in danger of losing value.

Rodney has to survive as an artist too. He's one of Australia's most creative and interesting artists, but he's certainly not wealthy.

So what's the ethical course of action here? Does Rodney have the right to prevent unauthorised use of his idea? In China, manufacturers can offer discount rates to produce branded goods because they get tooled up then to produce cheap imitations free of royalties. This proves unsustainable.

What do you think?

(The image above is titled 'Everyman No. 9 (self-portrait)', 2008, by Rodney Glick. The website for his exhibition God-Favoured is here)

[Kevin Murray]

I've just posted a story on Craft Unbound with more images and details: http://www.craftunbound.net/country/indonesia/bali-carves-up-the-gl...