Panglima Garang, Forged, fabricated & painted steel, 2008

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If you wish for peace, prepare for war, as the Latin phrase comments. As such the idealism of a world devoid of conflict seems an impossible reality; history dramatically is doomed to repeat itself.

Functioning as agents who can amplify and critique reality, artists continue to reflect on the physical and psychological effects of war through images of protest, glorification and warning. Sculpture and especially public sculpture in the form of flags, soldiers, horses, presidents, guns, walls and endless motifs compel us to believe simplistic and nationalistic accounts of history. Therefore, the medium, acts as a catalyst for memory within this public realm, setting a theatrical, almost mythological stage to re-enact our thoughts and positionings on politics. It is one of those art forms that, like it or not is an effective tool for propaganda and social conditioning for diverse political ideologies.

Study 12, Pen and ink on paper, 2009

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But how does sculpture function when dealing with the art of war (bad pun intended) when  situated within a corporate gallery, in on of the biggest shopping malls in Malaysia? The country’s most well known sculptor, YM Raja Shariman has recently opened an extensive solo show presenting a new body of work that reflects upon the conceptual associations of metal as an agent of destruction as well as the artist’s physical command of both human and organic form. ARTERI has already given you a taster from the exhibition opening and now we offer a few insights and observations on the show as entry points into thinking about sculpture in Malaysia and the work of this respected and admired artist.

Let’s start off with an extract from the exhibition statement by guest curator Tengku Elina Aziddin.

Rhythm of the 21st Century is the sixth solo exhibition for YM Raja Shariman. Known as a prolific sculptor, Raja Shariman is an artist who is not afraid to convey his ideas and to bring change. His works are revolutionary in spirit, not only in concept but also in their form and processes. The body of works in Rhythm of the 21st Century is an important landmark in Shariman’s evolutionary journey as a visual artist.

Rhythm of the 21st Century is based on the concept of war. Shariman has worked on the idea of using forms of fragments of war remains such as shrapnel and bullets to construct his sculptures. Shrapnel symbolises destruction while bullets represent the tools of destruction. The structural elements of the sculptures are based on the forms of shrapnel, its nature hard, sharp and violent. The artworks in Rhythm of the 21st Century however is not about the literal phenomenon or act of war. Rather it is about humanity and human nature itself.

Laksamana Berang, Forgeed, fabricated & painted steel, 2009

The exhibition features 20 new large-scale sculptures, 45 drawings and 15 paintings the (paintings are being debuted for the first time in Malaysia). En masse the artist aims to reveal the never ending performative cycle of Man’s destruction and reconstruction. But since the title alludes to form and movement with no reference to war or conflict the connection between the poetic notion of rhythm and the brutality of war becomes a clumsy juxtaposition.

Kemelut Perjuangan 2, Mixed Media on canvas, 2009

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Nevertheless, as a maker of objects, it is difficult not to have a huge amount of respect for Raja Shariman’s sculptures. No one that I have come across in my research, has yet to impress with such a graceful handling of material than him. Fluid forms, tight negative spaces and lyrical movement inject his forged metal work with an energy and confidence that only a few possess in the Malaysian art world. His previous mechanical warriors engaged in battle are effective formal exercises into how unyielding materials like steel can be tamed and unleashed to surpass all expectations of the medium. However, many of the 3 dimensional works in Rhythm of  the 21st Century have a matt, almost glittered finish which distract the viewer from really looking at the work. Golden bullets instead of having a harsh or naturally textured glint, dazzle like a children’s school project. Disappointingly metal has been reduced to a shallow surface painfully diluting the potency of form.

Thematically there is a lot to digest in this show. The sculptures definitely have a heroic gothic soldier, distopian terminator  quality about them strung with bullet belts, unseeing faces and forms that echo blades, knives, guns and all things violent. With names such as Wira Perkasa, Laksamana Berang, Gah and Maharajalela these are characters in an epic but bloody story. Therefore the nobility of the figurative forms echoed by the studies hung on the gallery walls infer a sense of the brutal monumentalism of war, warriors and of course Man. And I mean Man as in definitely not Woman. This show is one I think a lot of boys will like. Another interpretation is that here, we see enormous toys, for little and not so little boys to play with, emulate and admire. And so the myth-making of gender continues.

Kancah Kashmir, forged, fabricated & painted steel, 2008

The more abstract sculptures come straight out of what feels like science fiction influences that inspire associations with spikey extra terrestials exploding through human chests to skitter across floors ala Aliens the movie (either of the three works for me). And yet these are the works that have the most specific references to war torn areas in the world such as Seriphan Gaza, Tangisan Ambon and Kancah Kashmir. But what is the artist trying to say? Using such weighty titles seems like a hollow gesture due to the lack contextualisation and feels like an intellectual exercise to heighten the drama of form more than anything else. Artistically Raja Shariman should be clear with his intent as this is dangerous territory to play with. Is this memory, embellishment, or tokenism?

The paintings are full of angst ridden dark forces that seem caged in their rectangular frames straining and resigned to their fates as exhibits in a macabre and spectalised zoo.The detailed studies, intricate and dense in the use of lines and movement provide yet another dimension to the exhibition and inject a useful behind the scenes insight into the thought processes of this accomplished artist. Are we privy to the inner psychological conflict of the artist, of Man’s struggle/love of conflict and battle, of a wry commentary in a corporately funded institution in the Petronas Twin Towers?

Seraphim Gaza, Forged, fabricated & painted steel, 2008

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Study 12, Pen and ink on paper, 2009

Anyone hoping for answers or enlightenment on the artists political ideology will leave feeling disappointed. There is no protest here, rather a gothic glorification of conflict. Rhythm of the 21st Century presents a good introduction to the uninformed about Raja Shariman’s work. But fans will wonder where the artist is going, and perhaps yearn for proper clarity rather than close encounters with the third kind and flattened forms. Viva la revolution right?

(EM)

Kemelut Perjuangan 11, Mixed media on canvas, 2009

Wira Perkasa, Forged fabricated, painted steel & wood, 2008