by Dr. Khatijah Sanusi
As cited by art critics and historians alike, Sulaiman Esa is one of the leading figures in the development of contemporary Malaysian art, in similar page with a few other Malaysian senior artists like S.A. Jamal, Ismail Zain and Redza Piyadasa, who has struggled prominently through his art in linking spirituality, modernism and nationalism. His wide knowledge and intellectual acuity, has enabled him creating milestones in the trajectory of local contemporary art, in the last five decades (Kanaga, 2001; Rajah, 2001; Sharif, 2001).
Born in 1941, Johor Bahru, Sulaiman Esa, grew up in an artistically-inclined family where his interest in art was sparked by the work of his older siblings.
Government Building II, gouache, 48.5 x 54 cm, 1961
On completion of his secondary schooling, more than twelve years of his life, were spent in the West, seeking art formal training in London, a Master in Fine Art, Maryland Institute, College of Art and a Ph. D in Islamic studies, at Temple University, USA. He served more than three decades at the Department of Fine Art, Faculty of Art & Design, UiTM. Shah Alam. According to scholars, Sulaiman has contributed immensely in the development of contemporary Malaysian art (S.A. Jamal, 1984; Kanaga &Piyadasa, 1983; Saidin, 2011). Amongst them:
Towards a Mystical Reality, 1974 was held at Dewan Budaya & Pustaka, Kuala Lumpur, Malaysia
1. Together with Redza Piyadasa, their manifesto Towards a Mystical Reality (TMR 1974) proved to be a vital turning point for an alternative direction in Malaysian art by rejecting Western art dependence. (K. Jit, 1974; Sabapathy, 2001). The overarching significance of TMR in the context of Malaysian art history, saw the National Gallery Singapore in 2015, commissioned Sulaiman to “Re-invent” several pieces of TMR and were exhibited during the launching of their new Art Gallery in November ‘15.
Mahsuri, mixed media, 181 x 298.5 cm, 1983, collection of Fukuoka Asian Art Museum, Japan
2. Sulaiman has revived, revitalized and transformed traditional Malay icons (woven techniques and motifs) as part of mainstream art thus, rejecting the dichotomy between art and craft, as the Western ideology presupposes (Frederich, 1981; Lovell, 2004).
Convergence Divergence II, digital print, 37 x 45 cm, 2000
3. With his wide knowledge in Islamic studies under the tutelage of renowned Muslim scholars like S.H. Nasr, L. Faruqi, M. Ayoub, etc. Sulaiman is a trailblazer in the Post-modernist period in Malaysia (Faruqi, 1984). Later on, he ventured into creative incorporation of multi-religious icons as a desire to include and respect the varied religious practices in the country (Insyirah, 2001). A laudable endeavor in creating unity, and building a bridge to living tradition among multiracial population (Rajah, 2001:10); Fan, 2001; Ooi, 2001).
Primitive Others, mixed media, dimensions variable, 2011
4. His unwavering determination and single-mindedness towards attaining authenticity led to his creative exploration of Islamic universal values by exposing the hypocrisy of Western superpowers who preach democracy, justice and human rights but in reality they are the main violators themselves, as featured in his retrospective Panopticon in retrospective show: Rajaah (2011). Sulaiman has not only pioneered a paradigm shift in contemporary Islamic-inspired art in Malaysia but also in the Southeast Asian region (George, 2012).
On many occasions, he has represented his nation on art-related activities as in academic conferences, intellectual discourses, art biennials, and triennials. His works are in the collections of museums and art galleries not only in Malaysia and also overseas including Japan, Australia, Singapore, and the United States to name a few.
Panapticon, in collaboration with Fairuz Sulaiman, video installation, 274 x 731.5 x 731.5 cm, 2011, collection of the artist
Perhaps what Dr. Leslie King, the Dean of Post-Graduate Studies wrote together with Professor G. Hartigan, Director of Painting School, on completion of Sulaiman’s MFA, sums his uniqueness, as an individual, artist, and academician. They write:
His presence at the Institute has been one extraordinary creativity and productivity. Esa is an artist of many dimensions and were are going to miss the artistic sensibilities he has brought to this environment... his high energy, enthusiasm, and questioning mind provide the setting for many vital discussions and the exchange of ideas... There is no question regarding the potential for his success in the future. He is well on the way to achieving that goal...This recommendation is made without any reservation and with utmost confidence in his skill, talent and vision as an artist-teacher-humanist and person. It has been our rare pleasure and honor to meet and know such a man as Esa... (1981). (Sanusi & Ahmad, 2010)
References 1.Faruqi, L. “Islamic literary principles and the visual arts: Case study from Malaysia.” Paper for Seminar on Islamic art, sponsored by Dewan Bahasa dan Pustaka, Kuala Lumpur, 1984. 2.Frederich, H. Works on paper. Exhibition catalog. Grimaldis Gallery Baltimore, Maryland, USA., 1981. 3.George, K. M. Picturing Islam: Art and ethics in a Muslim lifeworld. West Sussex, UK:Wiley-Blackwell, 2012. 4.Jamal, S.A. Comments on works by Sulaiman Esa. Catalog Ke Arah Tawhid. KL: Hong Leong Ass. 5.Lovell, J. Malay artists and the Malaysian Cultural Congress: Three case studies. Unpublished thesis, School of Humanities, Australian National University, p. 89, 2004. 6.Ooi, K. C. “On a spiritual quest.” New Straits Times, Feb. 19, 2001. 7.Rajah, N. “Insyirah Al Sadr: The art of Sulaiman Esa.” In N. Rajah, ed. Insyirah: The Art of Sulaiman Esa from 1980-2000. Kuala Lumpur: Petronas, pp. 31-64, 2001. 8.Sabapathy, K., Piyadasa, R. Modern artists of Malaysia. Kuala Lumpur: DBP., 1983. 9.Sabapathy, K.Piyadasa: An overview. 1962 – 2000. Kuala Lumpur: BSN., 2001. 10. Saidin, H. Blog on Pak Leman, 2011. 11. Sanusi, K. & Ahmad, F. R. From the periphery to the Centre: The social significance of Sulaiman Esa’s work from 1950s–2007. Unpublished research RMI, UiTM, Shah Alam, p. 4, 2010. 12. Sharif, Z.A. “Forward.” In N. Rajah, ed. Insyirah The art of Sulaiman Esa from 1980- 2000,’ Kuala Lumpur: Petronas, p. 12, 2001.