Raja Shahriman: Killing tools, dancing warriors

By Nur Hanim Mohamed Khairuddin | April 2009

Born in 1967 in Kuala Kangsar, Perak, Shahriman graduated from the
University of Technology Malaysia in 1990. He initially enrolled as a painting
major but in the fifth semester he shifted to sculpture. In 1994, after three
years of teaching at the Malaysian Institute of Art, he moved to his hometown
to become a full-time artist and to live nearer to Nature, Religion and Culture.
In his quest to improve his metalworking and metallurgical knowledge, he
visited ironsmiths in the area. The traditional method of keris making that he
learned from them later plays a substantial role in galvanising the qualities of
his sculptures.
Until now, Shahriman has produced at least six sculptural groups. Most of
them are derived from his fetishistic passion for the practical and mystical
romanticism of weapons and the poetics of human motion in battle.Killing
Tools (1994) signals his nascent foray into the Malaysian art scene. By
incorporating deadly objects of war, he continues the violence of subject-
matters evident in nearly all his past oeuvre. By fabricating keris and swords
from scrap metals and turning them into functional sculptures of pure
aesthetic pleasure, he does not only subvert the social-cultural quintessence
of Malay weaponry but also deconstructs its functionalism and mythic
protocols. It is his first solo Gerak Tempur(1996) that marks his influential
standing in the local art world. By fusing discarded auto parts with hand-made
structures, he assembles vicious but elegant free-standing warrior-figures
brandishing menacing yet attractive lethal weapons. Considering the lack of
significant prototypes of figurative sculptures in Malaysian art, Gerak
Tempur highlights some remarkable sculptural aesthetics: skeletal, atectonic
and asymmetrically balanced forms; anatomical elements stripped down to
abstract bones, joints and tendons; near-perfect body proportions; expressive
textured surfaces; animated gestures, fluid movements and violent attitudes
that convey dramatic tension; and an ingenious scheme to manoeuvre the
notion of aniconism.
After this seminal series, he appears to be imbued with a feeling of guilt for
having made human-like statues. Api, Bayangan dan Kemenyan (1998)
and Semangat Besi(2001) indicate his attempt to reject all figurative
references. The free forms in the former set are composed in elaborate gothic
style with sharply defined curves, coils and pointed edges. Particularly in the
later group, a collection of stylised weapons and lyrical wall assemblages
bearing biomorphic expression, he begins to abandon found objects and to
focus on hand-forged metal parts. His disappointment with non-
representational products at this juncture encourages him to embark on his
fourth solo. Although he revisits figuration, he hopes to resolve his aniconic
conundrum. Headless figures in Nafas (2004) do not feature the mechanical
outlook, aggressive expressions and weapon appendages of Gerak Tempur,
but they enhance the sensuous movements of previous series by way of
sinuous curvatures of calligraphic elements fashioned from forged iron rods.
In the Langkah Hulubalang series (2008) Shahriman makes one crucial
improvement to the Nafas pieces by appending a simple, blank facial
component to his warriors body as way of a head. Bird-like heads in the
accompanying sub-series metamorphose from traditional images
of kerishandles.
One striking point discernible in his creations is his penchant towards formal,
technical and structural problems. Uppermost in his mind is what best
epitomises the idea of the artwork as a thing-in-itself independent of extra-
visual concept and solipsistic discourse. He harnesses the power of
imagination and craftsmanship to intensify beauty of form without much
regard to cerebral undertone. He considers the physical manifestation of the
sculpture more important than any meaning supposedly embedded in them.
Foremost, he wishes to keep viewers sentiments rooted in the visual
significance of the shape and space, the pattern and rhythm of his pieces.
Shahrimans aesthetic and philosophical forte lies in his figurative constructs,
explicitly via their physical appearances and implied movements. He is
inspired by various attributions and embodiments of the male body. He deals
with emotive neo-expressionist forms to fit the violent subject of his art and to
act as a vehicle for his restless gothic energy. Moreover, the cyborgs and
human-machine hybrids aptly correspond to the cult of the warrior in this post-
industrial age with its omnipresent simulacra of super heroes, battle fronts,
and terrorism. In absence of facial expression and the capacity to speak as
the majority of his figures are headless Shahriman conveys his messages
through their actions and motions. Into these naked human bodies he likewise
pours his emotions, in search for a deeper spiritual meaning.
Over the years, Shahriman has transformed the appearances of his
sculptures. The earlier pieces look robust and intimidating; the ones that make
up the Nafasseries are more refined and contemplative. This change of forms
corresponds to a change in his technique, which is circumscribed by what he
wishes to achieve vis--vis material treatment. He overcomes the limitations
and exploits the potentialities of his media according to the sculptural features
he has in mind. The moods of found objects, forged metal parts and wrought
iron rods condition the physical feelings of his artworks. Utilising a range of
blacksmithing processes and tools, he works in such a manner that the
materiality and essence of the metallic materials intertwine with his abstract
idea. Additionally, the forceful action of hammering, bending and twisting
metal pieces does not merely influence the dynamics of his works, it greatly
appeals to the aggressive temperament concealed behind his medium
physique and gentle demeanour.
Several critics regard Shahrimans sculptures as having permeated with the
ethos of Malay amuk, the ethics of Sufi spiritualism, or the codes of
postmodernism. Others consider his oeuvre simply stipulated by his socio-
psychological conditions. Shahriman nonetheless declares that his
constructions are devoid of lucid narrative content and absent of deliberate
allegorical and symbolical insinuations. However, when we first encounter his
sculptures, they arouse immediate pictures of power, transgression, and
death-instinct. His representations of a horrifying body illustrate the presence
of the macabre images that have been dragging us round the dark side of
reality. They eulogise violence, terror, and sadism as the roots of human
sublime emotions. These compositions evoke our sense of erotic paganism,
dramatic barbarism and tragic consent without sarcasm, without humour. In
awe of the primal, haunting magnificence of Shahrimans metal sculptures, we
let the paradoxical beauty of the violent spectacle of their killing tools and
dancing warriors cast a spell on our sight and psyche.

4.0 Dapatan kajian Seni Arca yang dipilih.



Raja Shahriman Raja Aziddin merupakan kajian saya yang pertama. Beliau
dilahirkan pada 17 November 1967 bertempat di Kuala Kangsar, Perak.
Beliau melanjutkan pelajaran ke Dip in Art and Design (Fine Art) UTM
(Majoring Sculpture). Contoh pameran yang telah diadakan ialah pada tahun
2009 iaitu 3D to 2D : Sculpture Studies, Pelita Hati House of Art, Kuala
Lumpur. Pada tahun 1992 beliau telah mengadakan pameran Young
Contemporary, National Art Gallery, Kuala Lumpur.
Raja Shahriman Raja Aziddin mahu karyanya berdiri sendiri dan
dihayati oleh penonton dengan bebas. Dalam kebebasan itu, penonton
mungkin mencipta sesuatu yang berlainan dalam kotak fikiran dan ruang
pengamatan mereka.










Tajuk : Persamaan Membangun
atau Growing Equity.
Taman Wawasan, Public bank,
Kuala Lumpur.
Jika dilihat dari sifat semulajadi manusia, pembangunan merupakan satu
faktor yang berterusan. Manusia dicipta dengan akal fikiran bagi mencapai
kemajuan iaitu dari segi rohani dan jasmani serta material dan spiritual.
Setiap pembangunan harus ada matlamat dan dalam mencapai matlamat
perlu ada wawasan supaya perjalanan menuju kepada kemajuan merupakan
perjalanan yang selamat.
Arca ini menggunakan unsur rupa dengan rentak yang lembut yang
melambangkan sifat semulajadi pertumbuhan. Pada bahagian atas arca
terdapat garis tegak yang meruncing ke atas melambangkan perjalanan ke
arah kemajuan. Menurut Raja Shahriman Raja Aziddin juga fungsi yang
menunjuk ke langit pada arca tersebut kerana dalam mencapai kemajuan kita
mesti tidak melupakan keagungan Tuhan.
Selain itu, garisan utama yang besar melambangkan wawasan
sebagai landasan utama di dalam usaha mencapai kemajuan. Garisan
pendek melintang yang berulang-ulang di atas garis utama pula
melambangkan kemajuan yang telah dicapai dan yang akan dicapai
sepanjang perjalanan menuju ke arah matlamat mencapai taraf Negara maju.
Kesemua kemajuan ini bergerak ke arah matlamat yang satu serta
berlandaskan wawasan yang sama.






40028_429469518404_16484193404_4808697_4046146_n Artist :
Raja Shahriman
Title : Panji Hitam
Size : 77 cm x 33 cm x 80 cm
Medium : Forged, fabricated & painted steel
Year : 2009




Panji Hitam merupakan salah satu karya beliau yang telah dipamerkan di
pameran beliau. Berdasarkan fungsi seni sebagai media komunikasi, para
penonton berupaya mengupas nilai yang tersirat melalui apa yang tersurat di
atas kanvas, atau barangkali menerusi bentuk dan susun atur bahan
sesebuah arca yang dihubungkan dengan latar belakang kebudayaan dan
peribadi penciptanya.
Peranan seni lukis sebagai wadah peluahan perasaan sudah banyak
diperkatakan. Perasaan dan gerak rasa boleh menjadi subjek seni yang
utama dalam kaedah yang terkawal atau sebaliknya. Dalam proses
penghayatan, penonton sendiri berupaya menentukan kepuasan dalam diri
apabila melihat sesuatu karya yang mempunyai maksud tersendiri. Selain itu,
berupaya menentukan kesempitan dan keluasan sesebuah karya
berdasarkan latar belakang mereka. Karya yang merakam perasaan sering
kali mewujudkan suasana keasyikan berkarya dalam diri pelukis atau
pemahat arca.
Raja Shahriman Raja Aziddin merupakan pemahat arca yang menggunakan
stail arca yang bersifat agak mengerikan itu mungkin mendorong penonton
mengaitkan dengan imej di luar jangkauan pemikiran dan alam nyata bagai
makhluk futuristik.

Sesetengah arcanya seakan-akan menyerupai tulang binatang yang kaku dan
keras. Sifat dan bentuk besi yang yang tajam-tajam pula menyerupai senjata
buatan tangan. Besi merupakan bahan utama arca Raja Shahriman Raja
Aziddin.
Kritikan pada arca Panji Hitam mengambarkan semangat dalam mengharungi
setiap dugaan yang berlaku. Contohnya peperangan yang memerlukan
semangat dan tahap fizikal yang bagus. Di samping mewujudkan ciri formal
yang harmoni, gabungan bentuk-bentuk organik, dengan geometrik juga
member pelbagai kesan visual yang menarik. Pengamatan penonton boleh
bergerak mengikuti lekuk dan jalinan bahan. Cahaya yang jatuh ke atas arca
tersebut memberi kesan bayang dan ton yang berbeza-beza. Kilauan kuat di
hujung bahagian-bahagian yang tajam menambahkan unsur kengerian pada
beberapa arca yang seakan-akan membentuk tulang binatang. Kelahiran
bentuk-bentuk tajam begitu boleh dihubungkan dengan minat pemahat
terhadap senjata tradisional seperti keris dan perang.
Di samping itu, arca yang bertenaga itu, menampakkan beliau seorang yang
begitu asyik dan tekun terhadap karyanya. Usahanya untuk membebaskan
diri daripada kongkongan dan batasan berkarya terakam menerusi arcanya
yang bebas dibentuk menurut gerak rasa dan emosinya. Kelainan dan
keunikan karya pemahat arca muda ini berupaya memberi satu pendekatan
baru dalam seni arca tempatan. Ini menunjukkan bahawa pelukis muda di
Negara ini mampu memberikan dimensi baru dalam sesetengah bidang
kesenian.