ABSTRACT
1. I-TRODUCTIO-
This paper aims to elucidate Sulaiman Esa’s arduous journey from the periphery, during
his early formative years in Johor Baru and London in the 1960s and his labyrinthine
search for his roots-- meaning in art, a few years after his return from overseas. Many
factors contributed to his decisive attitude in the embarkation for his identity. Perhaps the
most pertinent is the socio-political phenomenon that has developed in the decades of the
1970s and the 1980s. To achieve the above-mentioned objective, this writing is divided
into three parts. First, it delves into his formative years in which he was entranced with
the phenomenon world of western art and became intoxicated in it. Second, it discusses
his struggles in his perennial search for his roots. And finally, this paper delves into his
new found stance in transforming Islamic oriented art as alternative paradigm in
Malaysia’s contemporary art development.
2. LITERATURE REVIEW
Despite the contributions Sulaiman Esa has made in the development of contemporary
Malaysian art in academic writings, curatorial and creative art works, comprehensive
publications of his thoughts and artistic pursuits is unfortunately sparse Most of the
writings on his works are found in exhibition catalogs, art journals, newspaper articles,
and books on Southeast Asian artists.
2.5 Malay artists and the Malaysian &ational Cultural Congress: Three Case
Studies(2004)
A thesis by Jennifer Lovell for her Bachelor of Arts degree, from Australian National
University, Canberra, perhaps another writing model in her research approach to
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Sulaiman’s ideas during 1960s until 1990s although her central issue focuses on the
influence of National Cultural Congress on three selected Malay artists, the other two
being the late Ismail Zain, and Syed Ahmad Jamal. Her writing is interesting in the sense
that she debunks Piyadasa’s term in labeling the above three artists as the “Malay-Islamic
revivalist” instead as she claims them that “they have arrive to Malay-Islam identity.”
Nonetheless, the above mentioned researchers done on Sulaiman, bits and pieces as they
may, we find these writings have given us the direction in which to disembark an in-
depth autobiography of the artist’s artistic journey in his labyrinth search for the ultimate
truth.
3. METHODOLOGY
Interpreting social phenomenon involving facts findings for primary data about the artist,
his thought and ideas, interview approach is being adopted in this research. A number of
individuals who have personally known the artist have been interviewed, these include a
senior artist Dato’ Syed Ahmad Jamal, renowned Southeast Asian art historian Kanaga
Sabapathy, a Singaporean, art historian Niranjan Rajah (now residing in Canada),
Associate Professor Hj Hashim Hassan, close senior friend from childhood days in Johor
Baru, and his elder siblings, and others.
In addition, research and compilation of Sulaiman’s own writings and art events that he
was directly involved in are retrieved for further scrutiny in which some are included as
primary data, while secondary data are obtained mostly from his own library collections
and also from the library of the National Art Gallery in Kuala Lumpur.
As stipulated in the introduction, Sulaiman’s journey from the western centric world in
the construction of an alternative paradigm in contemporary expression embodying
traditional and spiritual values of the eastern world is divided into three parts. Part one,
delves his formative period in his early childhood and student days in London; part two,
discusses his search for identity; and part three, delves on his articulations of Islamic-
oriented art in the early period of the 1980s and in late period, in the early millennium.
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4.1.2 Hornsey Colege of Art (1962-1968)
Two years after completing of his Senior Cambridge Examination, Sulaiman continued
his self-study on developing further his artistic finesse. He was awarded the prestigious
Johor State scholarship, which he thought was a miracle for there were more able
applicants in sciences and medical studies who were also competing. In 1962 he pursued
further studies in art at the Hornsey College of Art, in Britain. Thus, was his formal entry
into the dynamic international art scene right in the heart of London He couldn’t be at any
other better place than in London--the nucleus of the art world in the swinging 60s!
Hornsey College of Art in the early 60s was undergoing a new and radical art program
aiming at self-conducted independent research nurturing the scientific and pragmatic
approach as opposed to the conventional approach limited to expressive and vocational
studio skill. In short, art teaching at Hornsey stresses intellectual development through
empirical and analytical approaches. The presence of renowned international art
historians, art critics, artists and designers teaching at Hornsey like Maurice de
Sausmarez, Briget Riley, Arnold Hauser, Lawrance Alloway, to mention a few, has
exerted a strong impact on Sulaiman’s art and his discourse. And it was at Hornsey that
Sulaiman first met the late Redza Piyadasa.Being the only two Malaysian students in the
College and studied in the same art program, they struck an immediate affinity between
them. In similar vein to Piyadasa, Sulaiman’s approach to art is highly analytical and
cerebral.
His involvement in such art activities further gained momentum especially when the
School’s art education system at ITM too, adopted the same Bauhaus art program he had
previously underwent at Hornsey. As a corollary, the Art School at ITM provided a
breeding ground in regurgitating western art ideas and terminologies not only as
individual artists but spread to its curriculum. Thus, in the early 1970s, saw Sulaiman and
his ‘twin brother’ Redza Piyadasa were actively involved with western art oriented
exhibitions including the &ew Scene(1970), Dokumentasi 72. In this period, his work is
deeply ingrained with the Constructivist inclination. But such an objective with detached
approach to creativity augurs well with Sulaiman, for it affords pure terminologies
pertaining to color properties like colour weight and density, colour”in which works
produced manifested new aesthetics where the physicality of the material becomes
central in suppressing illusionist space dimension.
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idea of this show is to reject western art aesthetics and instead, utilizing Taoist and Zen
concepts in search for a non-western approach as alternative paradigm in local artistic
expression. The most pertinent to these two artists, is not so much producing aesthetically
pleasing objects but generate ideas and values relevant to the societal needs. Thus, this
historical event marked the first imprint in Sulaiman effort to search for the truth. The
trudge home to the Centre, thus began!
Thus, the nude figure in waiting for Godot, signifies western art orientations that he has
undergone for more than two decades of his life. While the Islamic ornamentation in the
background symbolizes the world of Islamic art. The idea of integrating the two—the
sacred and the profane is none other than visualizing the critical catharsis that he found
himself caught in between these two opposing worlds.
Much to the surprise to everyone, his Waiting for Godot won an award in the competition
for his highly accomplished etching technique and of course, it witty content.
However, toward the end of the 70’s, the UiTM School of Art & Design held the timely
seminar entitled, Akar-akar Peribumi ( Indigenous roots) along with art exhibitions by
the art school’s faculty members. It is during this show, Sulaiman made his first public
attempt in creating his interpretation of Malay culture through the integration of woven
mat-like surface from canvass in hard edge painting approach. His Warisan (heritage) is
echoing his constructivist imput of the early 70s. Such a roundabout turn can be
discerned as a new beginning in his arduous search for artistic direction that would truly
embodies his religious beliefs and identity.
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His presence at the Maryland Institute has been one of extraordinary creativity.
Esa is an artist of many dimensions and we are seriously going to miss the
artistic sensibilities he brought to this environment. Esa’s academic performance
is nothing short of excellent It has been our rare pleasure and honour to meet and
know such a man as Esa. (1981, June 4)
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A decade later in 2001, Sulaiman held his second one-man show sponsored by Petronas
Gallery, KL and curated by art historian Niranjan Rajah. Insyirah meaning “to open up”
(terbuka) is Niranjan’s reference to Sulaiman’s creative manifestations on socio-cultural
issues derived from multi-ethnic perspectives such Zen, Buddhism and Hinduism. Such
an open stance to art is not only his latest interpretation to elicit racial harmony among
our multi-racial society but it is also his response to the Qur’anic verse:
Oh mankind! We have created you from a single pair of male and female
and made you into nations and tribes, that ye may know each other (not that ye
may despise each other). The most honoured of you in the sight of Allah is (he
who is) the most righteous of you… (Yusof Ali, 1983,Sura al-Hujarat verse 13)
5. CO-CLUSIO-
It cannot be reputed that from the above mentioned text, Sulaiman Esa has indeed
contributed immensely in the development of Malaysian art. In his trudge to search for
the Truth, he underwent through incessant challenges for decades but finally arrived to
his destination. For him Islam is the answer and believing in it is one of the means to
achieve felicity in this world and the world after.
To Lamnya al Faruqi (1984:16) Sulaiman is ‘a trail blazer in the Post-modernist period’;
To Piyadasa and Sabapathy (1983:137), “Of the artists who featured prominently in the
Malaysian art in the 70s, he [Sulaiman] may be considered as one of the most important
innovative artists;”to Niranjan Rajah ‘Indeed, Sulaiman Esa has built a bridge to our
living sacred traditions and. while he has given substance and direction to the
contemporary art of the nation, he has also produced art works of enduring value.’
(2001:13)
REFERE-CES