Viral Lizard Statue in Wonosobo Sparks Debate Over Public Art Funding

In the quiet village of Krasak in Wonosobo Regency, Central Java, a striking 7-meter-tall statue of a monitor lizard has captured the attention of locals and netizens alike. Crafted with remarkable realism on a modest budget, the monument has not only become a popular photo spot but has also ignited a broader online discussion about the cost and quality of public art across Indonesia. As social media buzzes with praise for the lizard’s lifelike design, it has also fueled criticism of other city monuments deemed overpriced and poorly executed, raising questions about transparency in public funding.

A Symbol of Local Pride and Conservation

The monitor lizard statue, perched atop a large rock in Selomerto District, was completed last month by local artist Rejo Arianto, a graduate of the Indonesian Institute of the Arts Surakarta. Known primarily for his paintings, Rejo ventured into sculpture for only the third time with this project, marking his first government-commissioned work. With the assistance of members from the local youth organization Karang Taruna, he brought the piece to life in just 1.5 months.

The choice of a monitor lizard, locally known as menyawak, was deliberate. Rejo highlighted the species’ native status in the region and its increasing rarity due to habitat loss. “Art is the expression of the soul. I hope this work serves as a reminder to protect our environment and encourages people to care more about this animal and its habitat” he said in a recent interview with Kompas.

Funded through corporate social responsibility (CSR) contributions from Wonosobo-owned enterprises (BUMD), the project cost a modest 50 million Indonesian Rupiah (US$3,100). Rejo emphasized that his motivation was not profit but a desire to contribute to his hometown. “I didn’t create [the lizard monument] for profit. However, if it had been commissioned by another city, I would have needed a larger budget” he told Kompas.

A Viral Sensation with a Deeper Impact

Since its unveiling, the statue has gone viral on social media, with users marveling at its detailed craftsmanship. Many have lauded how lifelike the black monitor lizard with yellow spots appears, especially given the tight budget. The monument’s popularity has turned Krasak Village into a local attraction, drawing visitors eager to snap photos with the towering reptile.

Beyond its aesthetic appeal, the statue has sparked a wider conversation online about the state of public art in Indonesia. Netizens have contrasted Rejo’s work with other city monuments, often criticizing the latter for lacking artistic merit despite significantly higher costs. While the Wonosobo lizard was created with private CSR funds, many other projects rely on taxpayer money, intensifying public scrutiny over how budgets are allocated and spent.

Contrasting Monuments and Public Criticism

Two monuments, in particular, have drawn sharp comparisons to Rejo’s lizard statue. In Samarinda, East Kalimantan, an 8-meter-tall Irrawaddy dolphin statue, erected earlier this year, cost 1.1 billion Rupiah (US$68,000). Designed in a contemporary, abstract style using steel and recycled plastic cables, the structure is intended to symbolize the silhouette of a dolphin’s fin mid-leap. The Irrawaddy dolphin, a critically endangered freshwater species native to the Mahakam River, faces threats from habitat destruction and pollution, making the monument’s message significant.

However, public reception has been less than enthusiastic. Many netizens struggle to see any resemblance to a dolphin, with some humorously likening it to a broken rubber band or a creature from “another dimension.” The stark contrast between its high cost and perceived lack of artistic value has fueled frustration, especially when compared to the budget-friendly realism of the Wonosobo lizard.

Similarly, an elephant monument in Gresik, East Java, completed in 2020, has faced ridicule. Costing nearly 1 billion Rupiah (US$62,000) through CSR funding from PT Petrokimia Gresik, the abstract design lacks defining features like eyes, ears, or tusks. Officials explained that this abstraction aligns with Islamic principles discouraging lifelike representations of living beings, a nod to Gresik’s identity as a city with deep Islamic heritage, often called Kota Wali (City of the Saints) or Kota Santri (City of Islamic Students). Despite this reasoning, netizens have dubbed it a “premature elephant,” with some joking that the budget was “eaten by elephants.”

Questions of Transparency and Accountability

The online debate surrounding these monuments has touched on broader concerns about transparency in public art funding. While there is no evidence to suggest mismanagement in the cases of the Samarinda dolphin or Gresik elephant, the significant disparities in cost versus perceived quality have led some social media users to speculate about whether funds for such projects are always used as intended. These discussions remain speculative, and no official investigations or confirmed reports of misappropriation have emerged in relation to these specific monuments.

Rejo’s lizard statue, by contrast, stands as an example of what can be achieved with limited resources and a clear vision. Its success has prompted calls from netizens for local governments to prioritize local talent and enforce stricter oversight on public art budgets. The viral nature of the debate underscores a growing public interest in how cultural projects reflect community values and fiscal responsibility.

A Small Statue with a Big Message

As the monitor lizard statue continues to draw crowds in Wonosobo, its impact extends far beyond Krasak Village. It has become a symbol of local pride, a call for environmental awareness, and a catalyst for discussions about the role of art in public spaces. For residents and visitors alike, the monument offers a moment of connection—to nature, to community, and to the power of creativity on a budget. Whether the online chatter will lead to tangible changes in how public art is funded and commissioned across Indonesia remains to be seen, but for now, Rejo Arianto’s lizard stands tall as a testament to what’s possible with passion and ingenuity.