Dadang Christanto’s practice is influenced by many aspects of his Indonesian heritage, including the coexistence of Hindu and Muslim religious cultures. This work makes reference to the half-female, half-male Hindu deity Ardhanarishvara, noted for its union of feminine and masculine energies. In contrast to the traditionally positive depictions of Ardhanarishvara, in Christanto’s version, a red arrow points to the empty space on the figure’s forehead where a third eye would normally exist, suggesting the loss of insight; the figure’s heart is dark and dulled by suffering; and the diminished brain lacks the capacity for critical thought. Yet these unfortunate traits are contrasted with symbols of procreation and the milk of life, which signify continuity and prosperity.

As a whole, Manusia tanah represents something of the endemic violence of humanity — conceivably a symptom of our imperfect biological forms, in which we take the journey from birth (or rebirth), through love and fear, to decay.