My notes on Radjikin and his most important work (Lang Kacang) as followed:

Bayu Utomo Radjikin

• Malaysian sculptor and painter
• Founder of the Matahati – group of artists inspired by artist-critic Wong Hoy Cheong
• Javanese/Indonesian roots
• Post colonial influence – but instead of resolving Asian roots with Western influences (like most artists of his time), he encapsulates the emasculation of the human condition with the loss of culture

Central beliefs/ideologies

• Rebellion against the Malaysian traditional derision of the human form in art – was almost always figurative in sculpture
  • Religious links – the Islamic world prohibits the portrayal of the human form in art
• Expressive, figurative sculptures evoke emotion and shock, often stimulating debate – though Radjikin demands no fixed interpretation
• Often attacks and reenacts the horror of the human and social condition, e.g. of the lone abused child, the wounded soldier, innocent bystander

Lang Kacang

• Sculpture of a armless tribal warrior screaming into the void
• Expression on face is contorted by his roar of frustration and anger
• Artist’s self portrait?
• Vibrant, fierce, thought provoking
• Warrior is the symbol of the spirit who becomes a source of protection and support throughout his life’s journey – caught in the midst of confusion and seeking direction
• Describes the emasculation of the modern man — soulless and empty within
• Displacement of tradition and culture by western modernity – the warrior appears alienated from his time and is helpless to his situation; the armless warrior is useless – hinting on the impracticality of culture and tradition beside the rise of modernity; appearing as something weakened, useless, unable to fight back
• However, elaborate headdress symbolizes rich culture and tradition — upwards tilt of the head suggests a sense of defiance and pride and resolve

–jiaying

PS JIA YOU EVERYONE!