The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

Killing Tools Lives and works in Kuala Kangsar, Malaysia Top Killing tool no.4 1994 Metal 25x110x23cm Collection: Private collection The presence of young graduate artists from local institutes of art and the existence of 'pluralism' were the main driving factors in the expansion of Malaysian art in the 1990s.The impact of pluralism is obvious and greatly influenced the creative energies of the young artists. The various approaches, media, techniques, styles and attitudes of the artists are seen through their art, which is energetic, provocative and requires a different perspective of understanding as opposed to conventional art. The 1990s phenomenon not only eliminates the 'common idealism' that was indoctrinated by artists of earlier generations, but has also brought forth the characteristic search for individual identity. This situation influenced the creative process of Raja Shahriman, who had just completed his education in sculpture at the School of Fine Arts, MARA Institute of Technology. Bottom Killing tool no.2 1994 Metal 71x59x31cm Collection: Private collection Raja Shahriman was born in 1967 in Kuala Kangsar, Perak, a royal town (Raja Shahriman himself is of royal lineage). He received a Diploma in Fine Arts (majoring in sculpture) in 1990 and actively participated in national and international exhibitions. In 1990 he was selected to represent Malaysia in the first 'ASEAN Youth Sculpture Workshop and Exhibition' in Bangkok, Thailand. His other exhibitions include the 'Young Contemporary Art Exhibition', Kuala Lumpur, 1991 and 1992; 'What About Converging Extremes?' at GaleriWan Gallery, Kuala Lumpur, 1993; the 'International ArtWorkshop-Belum Experience', Kuala Lumpur, 1994; the '4th ASEAN Art Show', Fukuoka Art Museum, Japan, 1994; 'War Box, Lalang and Killing Tools', 1994, and his latest solo exhibition, 'GerakTemPur' at Pelita Hati Gallery of Art, Kuala Lumpur, 1996. In 1992 the artist was awarded the Hadiah Kecil Salon, the highest award offered by Seni Lukis Malaysia. Raja Shahriman was commissioned to create a public sculpture, Growth with equity for the Public Bank in 1992. Before leaving the city to return to his birthplace, Raja Shahriman participated in a local theatre group. This took him to Singapore where he did an installation entitled Alter art in 1991. Raja Shahriman is not only creative but prolific. His involvement in projecting social issues into his work has gained him wide media coverage. The works he exhibits are unique, expressive, provocative, perceptive and psychologically disturbing. What is special is his sensitivity and creativity in using discarded materials. Using welding, pieces of metal and auto spare parts, he creates metal objects which are works of art. The artist creates his installation pieces from bamboo and glass. His choice of media and technique is appropriate to 94 I ARTISTS : SOUTH AND SOUTH-EAST ASIA portray the message he wants to convey. The early works from his last year of study are sharp, spiky abstracts of man and beast. This characteristic feature is obvious and is seen to influence his work in the series 'Killing tools', but this time it is more controlled and aesthetically pleasing. The 'Killing tools' series is the product of the artist's efforts in 1993-94 and raises a critical social theme that is rather philosophical. The series is illustrated with gentleness of thought and feeling and produced with confidence and culture. 'Killing tools' is created with skill and craftsmanship, embroidered with knowledge and practices that are adorned with traditional values, and driven by art of current times. 'Killing tools' is a philosophical synthesis of traditional and modern values, figuration and abstraction, and of the functional and aesthetic. The various pluralistic approaches taken by Raja Shahriman did not jeopardise the identity of his work, which is guided by the strength and understanding of the aesthetic principles of Islamic art. The relationship between harmony and contrast, external and internal, physical and non– physical and his understanding of visual and non-visual realities complement each other and give meaning to oneness. All of these elements are manifested in 'Killing tools' in intellectual ways and through awareness. The basic human and beastly forms are created with care. The traditional value that is found in the context of the Malay cosmology is also given due emphasis. The overall form is solid and compact, giving rise to a dynamic impact. The themes of Raja Shahriman's earlier works and 'Killing tools' are a projection of his childhood experiences. Raja Shahriman likes sharp objects. To him this is not extraordinary, but is the result of experiences that give him the strength and determination to face life.The sharp objects that can hurt resemble a protection within himself against outside obstacles that he will face. For Raja Shahriman, weapons and sharp objects are passive objects that do not hurt or kill by themselves. Rather, it is man himself who turns them into killing objects that are cruel and destructive to humanity. The value that Raja Shahriman wishes to convey in 'Killing tools' is the meaning of humanity. 'Greed makes man lose his humanity. Man with uncontrolled lust is lower than ... the crawling creatures.' Awang Oamit Ahmad, Senior Lecturerat MARA Institute of Technology, Shah Alam, Selangor, Malaysia