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.