Ketut Dana

Ketut Dana was introduced to Sawidji through our own member Wayan Konco. Having been in the same community for many years. One of the things that Wayan Konco hoped to encourage was for Ketut to begin wood carving again.

Because, despite his skills and evident talent, Ketut is another example of how the real artisans and creators of our fine works are exploited by a system that does not acknowledge the real creators of our wonderful pieces.

A Common Fate..

He had stopped carving due to a downturn in popularity. And had begun to work in construction for some years. On one of Wayan Konco’s visits to Ketut’s home, what was left of his pieces sat on dusty shelves but still called his attention.

For many years Ketut Dana worked in art houses and his works are sold by established galleries. He himself in the background as a labourer. During these times when the major art houses are closed, our artists and artisans feel somewhat homeless. Disconnected. Whilst they are in fact the creators, the talent behind many of our finest galleries.

One of his cherished memories is having his statues requested by a well known gallery, Ida Bagus Tilem, when he was just still in high school. Because the gallery had an excellent reputation. Any sculpture that was accepted there, meant that it was an exceptional piece. Ketut made very small, intricate little Buddhas from Sandalwood. It was these pieces that was sought after by the Gallery.

That being said, the ability to create such small detailed pieces, also means that there is an extreme level of control over his skills. It truly is a testament to the level of mastery he has over his craft.

Perhaps it was these years perfecting the tiny Buddha statues requested by a famous gallery, that also shapes Ketut Dana’s skills over the years. Turning natural pieces of wood into the beautiful, perfect creations we are fortunate to have with us at Sawidji.

Ketut has experience working with sandalwood in the past, when there were no restrictions on this species of wood. Now, he prefers working with crocodile wood. In his experience as a carver, he has never seen crocodile wood be ravaged by any parasites. He feels it is a strong wood, and yet supple to shape. Its beautiful clean white colour is also something that compliments the fineness in his work beautifully.

Ketut Dana had left behind carving due to the declining market. The closure of many art houses means an uncertain future. Ketut is fortunate to have the skills to earn a livelihood for his family as a labourer. However, the wood sculptor in him is ever present. He is happy to have a reawakening of inspiration. He feels joy again at being able to take up carving in his extra time and have the creative energy back in his life.