Art in Malaysia 1930s 1990s 1930s: The Beginning No heritage of indigenous art and architecture, unlike Thai or Javanese

se cultures. However, traditional craft forms influenced contemporary Malaysian art, where they were experimented with and underwent new interpretations o Wayang kulit o Batik: considered a functional, utilitarian material, but artist Chuah Thean Teng converted it into an art form in Feeding Time (1951) o Wood carvings on fishing boats along East coast Borrowed influences from its settlers o Colonial influences: Malaysia had been under British governance, which introduced art into the Malaysian education system. Some of the 1st generation Malaysian artists were granted scholarships to study overseas, and brought back fresh ideas which invigorated the Malay arts scene Abdul Latiff Mohidin Syed Ahmad Jamal 1950s 1960s: Abstract Expressionism Abstract expressionism was the dominant art trend, where there was an emphasis on the process of creating art rather than the product, and the artist was seen as the creative force Instead of mere imitation of Western artistic styles, there was a conscious attempt to fuse local elements with the Western style o Subject matter: inspiration from local, tropical landscape Rawa-Rawa 1(Marshland 1) (1986) by Abdul Latiff Mohidin o Style: combination of gesural elements of Islamic and Chinese calligraphy Tulisan (Writing) by Syed Ahmad Jamal

1960s 1970s: The New Scene Artists 2nd generation of artists o Studied abroad and received different stylistic influences o Rejection of emotional content and gestural art Sulaiman Esa Redza Piyadasa Decline of abstract expressionism in pursuit of a new definition of art o Conceptual art Challenged traditional notions of artmaking, art materials, and the role of the artist Empty Birdcage (1974) by Sulaiman Esa 1970s 1980s: Search for National Identity and a Mystical Reality National Identity o Spurred by the First National Cultural Congress in 1971, artistic production began to turn towards Malay roots. There was growing emphasis on Malay culture and values o This coincided with a global pan-Islamic resurgence advocated by Islamic intellectuals, which rejected modern Western culture and values as decadent and irrelevant o The spread of these ideas manifested in artists works Garden of Mystery 6 by Sulaiman Esa Mystical Reality o Manifesto written by Sulaiman Esa and Redza Piyadasa in 1974 o This noted a shift in artistic practices towards Eastern philosophies such as Taoism and Zen rather than Western ones o Questions the nature and function of art

1980s: Post-modernism Rapid modernization, industralisation resulted in a dislocation of the traditional way of life o This raised political, social and economic concerns among the people, which were reflected in art Sook Ching (1992): A video, sitespecific performance o This also enabled the scope of art practice to be broadened to include performance art

and site-specific art

Abdul Latiff Mohidin (1941 - )

Influences/ Inspiration German expressionism o Emotional tendencies: exaggerated forms and colours o Traditional religious iconography o Primitive art forms, especially South-east Asian Was drawn to strong symbolic qualities of African and Polynesian forms during his visits to the Museum of Ethnology in Berlin Nature o Due to his kampung lifestyle during childhood Mohidin once said in an interview with T.K. Sabapathy that every child who has grown up in a kampung is touched by nature, and that human beings are part of nature o Nature is viewed as a personified, mysterious force Pago-Pago series (1960s) o Nature as a raw force Gelombang series (1980s) o Creates a highly personalized world that does not refer to any particular cultural and geographical place Works Pago-Pago series (1960s) Amalgam of pagoda and pagar, wooden beams across old Malay houses Themes Culture: Recurrent motifs of stupa, lingam, totem and other stylized forms derived from South-east Asian iconography Habitat: depiction of pagodas and temples, man-made architecture alongside natural surroundings Fantasy: Nature as a mysterious force with personified natural elements

Early Pago-Pago

Pagoda 1 (1964)

Pagoda 2 (1964)

Subject matter Forms are derived from architecture and reassembled to create a new identity as an organic form o Traditional Thai Buddhist temples: the stupa and the prang In his earlier works, forms are more figurative (representing forms that are recognizably derived from life) Style German expressionist, Expressionist and Cubist approach Highly decorative, patterned surfaces reminiscent of traditional motifs Colours used are also reflective of local tropical landscapes Composition Subjects are placed in tight masses, overlapping each other Forms in the foreground are deliberately cropped to achieve greater impact Symbols and Imagery Use of imagery that provide universal interpretations There is a fusion of the Western style with indigenous themes The development of new iconography and revival of existing, previouslydecaying or dead traditions Pago Pago (1964) Main subject matter of this work contains motifs derived from boats, leaves, bamboos and shells in a totemic assembly Nature is personified and symbolic o Sun behind the forms Forms are nearing semi-abstraction, and

Mohidin leaves ample room for viewers interpretation of the subject matter Forms interlock into a dense mass in the centre of the canvas and captures the viewers attention Expressionistic brushstrokes are used, in a painterly fashion Though the structure is predominantly grey, dabs of yellow, orange and teal (presumably reflections of the natural surrounding) are used to liven up the structure depicted

Later Pago-Pago

Pago Pago 103 (1967) Subject matter Depicts a 3 vertical forms within a spiritual landscape, each animated and alive with their organic energies Shows Nature in its wild, untamed state without the interference of Man In his later works, forms are highly simplified and near abstraction Totemic, monolithic forms are iconic representations of animistic (the attribution of soul to plants, inanimate objects and natural phenomena) considerations and bimorphic forms Style Use of stylized shapes and forms derived from South-east Asia Use of thick, vigorous brushstrokes and strong colour contrasts o Exhibits Mohidins Expressionistic influences Use of outlines and diagonals to suggest movement and inherent energy each subject withholds Composition Forms are composed in the middle ground, with an undefined background and a foreground empty of subject matter Mohidin compensates this emptiness by filling the plane with a vibrant red colour, which is in stark comparison with the white background Symbols and Imagery Nature is a metaphor, depicted as poetic, romantic and mysterious by the primordial atmosphere of the painting

Malam Merah (Red Night) (1968) Portrays an abstracted and personified natural landscape Theme highlighted is that of Natures exuberance and vitality Unlike typical Pago-pago works, subjects are no longer restricted to the foreground Images are fragmented and forms are scattered in disconnected space Early architectural rigours have morphed into a fluid, organic, asymmetrical dynamism Vigorous, sensuous brushstokes are an Expressionist idiom, and tell of influence from American Abstract Expressionist Willem de Kooning Colours are vibrant, forms depicted in white with highlights of wheat-like ochre against a hale red background Movement is captured through the tilted shapes and directional brushstrokes With such colours and movement, Mohidin brings life to the red night

Mindscape series (1970s) Pago-Pago Viewer is invited to peer into the process of making images Every component is to be read and unraveled systematically Mindscape Viewer is asked to accept each image unconditionally More meditative in nature; surfaces are smooth, sealed and polished and harbour little trace of brushwork

Themes Culture: the meditative aspect of religion Habitat: Mosques, Malay architecture and natural surroundings Style Immaculate in appearance Minimal and conceptual Strove to present a state of meditative perfection Fusion of Western style with indigenous themes

Mindscape V (1973) Contains an inverted dome-shaped motif that may be a representation of a mosque Pigment is spattered on the structure to suggest an explosion Colours used are organic, and can be likened to that of fruits Intense, basic colours (red, green, yellow) are also suggestive of searing light and heat energy Brushstrokes are invisible Painting is subject to interpretation, and each viewer would associate the forms and colour present in the painting to different things of his/her imagination and mindscape

Gelombang (Waves) series (1980s) This series exhibits Mohidins preoccupation with the raw, violent forces of nature, and is a metaphor for the creative energies of the artist

o o

o o

Gelombang 86 (Waves 86) (1986) Powerful and dynamic Broad brushstrokes of stunning red are aggressively applied to the canvas against hues and shades of blue, yellow, white and black Rich textural effects created by building layers of paint one on top of another Explosion of colour bring to mind a flurry of activity and fireworks

Arus Malam (Nights Current) (1986) o Natural hues of brown, yellow and ochre o Broad sweeping strokes in impasto o Layering gives textural depth to the work o Characteristic of Abstract Expressionism o Brings to mind images of amber waves of light in darkness

Themes Culture: A meditative approach that reflects the Malay psyche which draws parallels between life and nature in cultural teachings of the bidalan or pepatah Nature: An attempt to capture the primeval force of nature on canvas. This is a culmination of his studies in earlier series and interest in nature. Style Emphasis on creating mood and tone rather than a realistic representation of scenes Powerful, dynamic brushstrokes rendered in rich impasto (paint applied in thick layers such that it stands out and the work becomes textural) to mimic the primal forces of Nature Modulations of colours and brushstrokes stand out in contrast with the highlycontrolled constructions of previous series Shows influence of Action painters such as Willem de Kooning and Jackson Pollock Colour Earthy tones are used to bring out the spirit of Primitivism A vibrant and stunning palette of primary colours is used Rimba (Forest) series (1990s) Began in 1995 A powerful concentration of the artists creative forces Mohidin was spurred on by his deteriorating health to create a new technique that could transmit and consolidate a sense of urgency (and) vigour The challenge was to do the best work possible, as if it was the last painting Rimba (Forest) Principal formal units are firmly rooted to the picture plane Trunks emerge from the bottom edge of the picture, overlap and race towards upper corners like arteries and undergrowth Dominant colour is black Gelombang (Waves) Movement is dynamic, fluid and unceasing Subject matter float across the surface, freed from the picture plane Vibrant, primary colours that struggle to break free from constraints of the 2D canvas are used

Dark Rimba (1996)

Rimba (1991)

Redza Piyadasa (1939 ) Influences/ Inspiration Art education in the United Kingdom (UK) o Inspired by Bauhaus artists Emphasis on analyzing how we perceive artwork and the structure of visual design o At Hornsey College of Art, he was exposed to revised curriculum Included studies in Art History, Literature, Philosophy and Psychology; this enabled him to pursue a more holistic approach to art-making Constructivism Beliefs Piyadasa is an intellectual who has had a privileged overseas education. His time abroad raised his awareness to his own nations social concerns, and his beliefs strongly influenced his approach towards art. Post-colonialism left Malaysia struggling to find its own identity and culture. Piyadasas Malaysian Stories (1980s) reflects this struggle. He hopes to sow seeds for a thinking process that might someday liberate Malaysian artists from their dependence on the West. He does so by demanding that his viewers respond to his work by establishing a dialectical relationship with the artwork (instead of a merely passive contemplative attitude). As such, he engages in conceptual art. He aims to construct a new ideology that is mystical in flavour, based on Asian values and traditions (especially that of Taoism and Zen). This is his alternative to the appreciation of reality that is put forth by the West. He believes that the role of the artist is to generate and shape ideas, values and opinions in ways that will have a direct bearing on society, and to redefine cultural identity and cultural consciousness. Themes Society Art and art-making

Towards a Mystical Reality: Piyadasas Conceptual Art (1970s) Works explored the fundamental properties of painting and sculpture, and their relationship Artist assumes an impersonal stance, rejecting metaphoric and emotional values Emphasis placed on pure idea rather than the sensuous object Questions the role and function of art and art-making Demands a dialectical relationship between the viewer and the artwork instead of a mere passive, contemplative attitude Rejection of formalism, an alternative to the then prevailing movement of Abstract Expressionism The Great Malaysian Landscape (1972) A painting about making a painting, exploring the fundamental properties of a painting Stenciled words label parts of the painting, while the middle portion features a 3-step process of how an artwork is penciled and painted The painting within the painting is that of a Malay peasant ploughing his paddy field Piyadasa presents to us selected aspects of the evolution of art, particularly the evolution of a painting This piece of work raises the question of whether there is only one set perspective to look at a painting from; it does so by pointing to us our perception of the parts of a painting, and hence leads us to contemplate about alternative ways to view the painting. Self-Portrait of the Artist as a Model (1977) Subject matter comprises two main focal points that juxtapose against each other: the subject (Piyadasa as his own model) and stenciled words across the bottom half of the foreground Background: Representational, naturalistic depiction of human form Foreground: Multi-coloured font that spells The reader may ask What is a model? or What models are we talking about? Unusual composition as portraits are not usually accompanied by words Model stares back at viewer with a matter-of-fact gaze

Almost confrontational considering the questions Piyadasa is forcing viewers to contemplate Using himself as the model implies that the viewer is to engage directly with him in the discussion of the two questions This work concerns the issue surrounding the complex role of models o In art, there are two types of models Actual/ philosophical models which artist transforms into visual form Works of art serving as models for other works of art within a given artistic tradition Copying a master in museums Four Propositions (1977) Explores fundamental properties of painting and sculpture and their relationship Tests ideas that were in vogue in the discussion of contemporary art: anti-art, non-art Utilises printed text and stenciled words to convey the matter-of-fact attitude of artist

Search for a National Identity: Malaysian Stories (1980s) From the 1980s, Piyadasa moved towards figuration Departed from conceptual art as artistic resources had been exhausted, and there were not many theoretical issues left to discuss New Economic Policy in 1970s caused social division between bumiputras (indigenous people) and non-bumiputras

Purpose To question the notion of a Malaysian cultural identity, and to promote a larger, allencompassing notion of Malaysian identity To portray the conflict between a multi-racial environment and the politicized Malay/NonMalay socio-cultural dichotomies To fulfill the artists role in the redefinition of cultural identity and cultural consciousness, and to convey the national anxiety and

Two Malay Women (1986) Malay women in traditional garb, painted over with flat planes of colour that clash with the picture Symbolises the advent of modernity upon traditional society, which is seen as an unnatural assault upon the original societal order

uncertain of finding identity in the modernized world To reflect and celebrate the various ethnic groups of modern Malaysia

Subject Matter Drawn from old Malaysian photographs that depict multi-racial and cultural groups that make up Malaysian society Nostalgic retrospection into Malaysias past Figures in the pictures are always posed and in a formal setting o In the olden times, photography lacked flash technology and the subjects had to sit stiffly for images to develop sufficiently distinctly on the film. Taking photographs were hence a formal and important affair, and posed pictures were fragments of memories intended to be preserved for generations to come o In posed pictures, the sitter also wants himself/herself to be best represented Sparks discussion of olden-day peoples notions of respectability in their community o Photographs are a tool of memory, Piyadasa attempts to evoke a sense of nostalgia in viewers by showing them scenes from the past Seated Malay Girl (1991) Family poses are selected o Depicts migrant families that have settled and grown in Malaysia, who were from different cultural heritage but common in their struggles and respect for the basic notion of family o Suggests that family is the basic unit of the nation, and is integral in Malaysias search for her new identity in todays modernized world Style Figurative art o To make art relevant to the viewers life experiences, devoting concerns and questions to social history and contexts Use of Pop Art- influenced techniques of silkscreen, acrylic and collage o Relatively new medium popularized by American Pop Artist Andy Warhol

The Sinhalese Family Posed, family portrait Migrant family Bright, basic colours Use of repetition

o Utilises techniques such as replication and repetition of colour and photographs, which brings to mind ideas of mass manufacturing o Questions ideas of mass production and individual identity Indian Mother and Child (1993) Silkscreen and acrylic Posed photograph Repetition Vibrant colours Innovative media Background pieced from different fabrics put together: social fabric of the nation? Malaysia as a conglomeration of different cultures, including that of the Indian people depicted

QuickTime and a TIFF (Uncompressed) decompressor are needed to see this picture.

o Can individual identity be dictated or reproduced by politics? o Can memory and experiences be manufactured? Figuration by means of appropriating old photo-images of ancestors o Prompts viewers to take a retrospective look back into the past o Asks viewer if the identity that has been forged in history is still relevant in modern days political climate o Presents a tension between the past and present with little integration between both elements Kapitan Cina (1990) Traditional Peranakan motifs of flowers and leaves embroidery on the border Posed photograph Formal cultural wear with historical heritage Green figure bathed in red background, as though vying for viewers attention The dilemma of old vs. new Traditional motifs, fabric and way of dressing Use of garish loud colours and modern medium, all of which signify the invasive pervasiveness of modern day culture and how it can potentially diminish the importance and existence of the preceding Malay heritage Unsmooth transition between the traditional subject matter and modern day media and elements juxtaposes them to emphasize glaring differences in culture of past- and present-day