Figure 1: Courtesy of Artist 'Nelayan Pekan Kuah Langkawi (2009)' by Ismail Baba
TATE Art Terms defines 'Naive Art' as a simple, unaffected, and unsophisticated art style, characterised by its childlike simplicity of execution and vision. As such it has been valued by modernists seeking to get away from what they see as the insincere sophistication of art created within the traditional system (TATE, 2022)
Nonetheless, let us unfold the three (3) aspects or perspectives, underlining the concept of 'Naive Art'.
First, Naive Art from the common perspective, is viewed as an art style where appearance of the work of art, renders childlike formalistic aspects, in terms of its overall stylistic representation. As in this perspective, Naive art is a unique approach which democratise the taste and appreciation of works of art, to which it is accessible to everyone despite age, gender, ethnic, education and background. If Naive Art was edible, it could have been the universal 'Nasi lemak' or 'Roti Canai' for everyone to feast and enjoy. To an extend, if you don't have kids to empathise works of Naive Art, you, yourself was once a kid. Apparently, Naive Art is not just inclusive in matters regarding its synergy between art and society, moreover, everyone own's a childish (archetypal-reality) side in him/her self, represented in hobbies and collectibles some way or another, or perhaps in regards to Naive Art itself.
Second, in the Western Cannons of Art History, between the late 19th to early 20th century, Naive Art style was viewed as an informal art style, outside of the formal Academic Art (European) context. As in this perspective, Naive artist were considered self-taught, not because they were unaware of the Academic styles, conversely, rather because they were self-taught outside the context of Academic Art. The formal Academies highlighted several established approach towards works of art; first, there were hierarchies of a worthy subject matter ranging from the mythological, allegory, religion, figures, portraits, until landscapes and still life, least valued on the bottom scale of such hierarchy. Second, the naturalistic treatment of proportions such as linear perspective, which creates illusion of reality on a 2-Dimensional surface. Third, the naturalistic treatments of colours, as of the subtle brushstrokes which represented realistic outcomes. However the Naive artist such as Henri Rousseau, blurred the demarcation between the worthy subject matter to be portrayed, as well as perspective and proportions of a realistic outcome, not just because he was self-thought, but because he did not care less towards the principles of the Academy, which eventually granted him a unique place in the History of Art.
Third, Naive art were also considered as apart of primitive art. As in this perspective, spurred by the western theory of evolution by Charles Darwin, the imperial powers (western) reflected such ideas as the 'survival of the fittest', in where there were concept and ideas, connoting between the Civilised-Uncivilised, Western-Oriental (Others), to an extend Matured-Unmatured. In one side, the primitive Naive Art was considered as unmatured as compared to the Grand-Narratives of Academic Art, which were superior, civilised, and more western-oriented. However artist who came from the Academic background such as Picasso, Gauguin, Matisse, Klimt, Klee and many others, which applied the same primitive approaches in art were considered 'Pseudo-Naive' or 'Primitivism'. In regards to this situation, Naive Art technically are parts and parcel of Modern Art's Avant-Garde. Nevertheless, After the postwar (1945), in the age of globalisation, the term primitivism or primitive arts were later then connoted towards folk arts, of the African and Asian region.
Eventually, from the Meta-Narrative vision of the 'Utopia-Dystopia', Naive Art is one way or another, apart of Modern Art. In 1884, Henri Rousseau himself exhibited some of his early paintings in the Salon des Independants together with other modern artist, mostly the impressionist as well as the post-impressionist. Moreover, there were exhibition and publications where artists such as Matisse, Picasso, Kandinsky, and many other, would include Henri Rousseau's artwork as apart of the Modern-Vision. Simultaneously, most of the Modern Artist sought visions on scientific progressivism, approaching techniques such as Pointillism, favouring the scientific theories on colours and proximity; Newton, Goethe, Chevreul, Gestalt, and others. While, others such as Gaugin, Matisse, Picasso, Klimt, and others insert Primitive reflections, as apart of their synthesis, on the becoming of their work of art.
Figure 2: Courtesy of Artist 'Self-Portrait (2017)' by Ismail Baba
In Malaysia, Ismail Baba is one of the country's celebrated Naive Artist. In regards to Naive Art, Ismail Baba has his own stylistic approach, called 'Mael Art Naive Style'. This Naive Art style celebrates the artist's visions and reflections towards cultural unity as well as identity of Malaysia. As an outcome, Ismail Baba has carved his name on the local and global Naive Art scene respectively, throughout his Malaysian Naive Art tour, and visits in Asia and Europe. Ismail baba's artistic style is unique in regards to three (3) aspects; Form, Icon, Style.
Figure 3: Courtesy of Artist 'Pulau Melaka Langkawi (2008)' by Ismail Baba
First, Ismail Baba's formalistic aspects in his work of art brings the audience towards newer collective taste in Naive Art. Unlike, works of art which address linear perspective as a naturalism (realistic) taste on illusions of reality, where shadows and depths are represented. The artist's treatment on his work of art still has a focal point, rather than a rigid controlled of vanishing point. In approaching this method, the artist creates memories as well as realities which are layered between one and another, through his mediums. In this sense, the artist is free to articulate the outcome of his artwork through his visions of past, present, or future, which is considered a reiterative on going process. The choice of colours on the subject matters are sometimes exaggerated, which is beyond conventional naturalism, celebrating vibrance of a vision, in where sometimes the figures itself are distorted according to the archetypal-reality the artist intends to portray. Perhaps this is why most of the artist's artworks is represented in a wide-angle view, in regards to the compressing of the whole scene, compose in such vibrant as well as harmonious, forms and colours. At times, the works of art invites the audience, in such of a vibrant kaleidoscopic colour excitement.
Figure 4: Courtesy of Artist 'Telok Cempedak (2011)' by Ismail Baba
Second, Ismail Baba's articulation of iconic subject matters, on material and non-material culture, takes the audience towards the artist's art vocabulary, celebrating cultural unity as well as local identity. The stylistic approach in where the artist includes natural habitats of lushed trees, or jungle-of-trees portrays the exoticness of Malaysia's natural rainforest wonders. On the other hand, the artist brings the audience towards a primitive utopian, to memories of life before the pre-industrial modern society, in which society were more honest, in regards to the relationship between humankind and nature. As to this perspective, perhaps this is one of the reasons why the artist portray's natural habitat of fishes and birds, living in a harmonious ecosystem, depicting the superiority of the sublime, rather than beauty alone through its naturalness. Such approach in Naive Art is identical to the stylistic treatments by Henri Rousseau, Alfred Wallis, Andre Bauchant, Ben Nicholson, and many others. Most of the human figures were intentionally addressed inferior, towards the superiority of the landscape's vision. However, Ismail Baba builds back some of the interesting modern iconic subject matters, such as buildings, monuments, roads, transportations, as well as landmarks, to incorporate a collective contemporary taste, of cultural unity and identity, in regards to places the artist visits. As an outcome, the audience can experience the new spirit of harmony between humankind and nature, on a positive utopian-vision of progress.
Figure 5: Visuals on some section of the Artist's workspace
Third, Ismail baba's stylistic approach towards his artistic practice, guides the audience towards the artist's attitude on fundamental principles and process of art making. If you do have the chance to visit O'Mail Studio, Jalan Kempas, Ampang jaya, KL. You might witness how the artist organised, each and every process of art fabrication, Step-by-Step. Technically, there are areas for sketching, drawing, painting, colouring, as well as finishing, all taking place in a whole factory of 'Mael Art Naive Style'. The artist shares one of his principles; it is compulsory for any artist to have his/her own sketchbook, and to sketch daily. In doing so, he/she will find more inspirations on originality, identity, and novelty, from his/her daily sketching ideas. By repeating this process daily, the artist will find unfolding progress, within the overall process. At the same time, the ideas generated can be developed into concepts, which will be articulated on future or present works of art. Since 2006, it has been 16 years, of daily sketching for Ismail Baba, even at the heart of the pandemics (2019-2021), at home. As an outcome to such principle and process, the artist's develop tons of personal sketchbooks, in where most of the time it acts as his 'Blueprints' or Visual-Vocabulary, a visual dictionary, or visual archetype serving as the building blocks of his works of art. Sometimes, the artist mentioned that these sketchbooks price are higher in demand rather than the artworks itself. Hence, this aspect of art direction, elevates the value of Naive Art, through genuine process as well as principles, of artistic practice, produced solely by the artist himself.
Figure 6: Some part of the Artist's Studio of his Art Companion's Artwork
Equally important as three (3) of the mentioned aspects above, in regards to Ismail Baba's artistic style and approach. 'Respect' has been the key towards the success of this celebrated Naive Artist. Perhaps it has been one of the factors, or process which shapes the becoming of Ismail Baba, as a celebrated Naive Artist himself. In his studio, there are many walls of fame, one of them are dedicated towards paintings of his art companions, ranging from different styles, as well as art approaches. In regards to this attitude, the artist composed each and every works of his art companions, as apart of the bigger art ecosystem family, with high respect as evident in figure 6.
In a nutshell, as a celebrated Malaysian Naive Artist, Ismail Baba continues to develop his art practice towards greater heights, celebrating the uniqueness of his artistic approaches on form, icon, and style. Inclusive in regards to Malaysia's cultural unity as well as identity.
Ismail Baba, will be exhibiting his 'Mael Art Naive Style' show and workshop at UiTM Lendu, Alor Gajah, Melaka, soon, on the 3rd October 2022. Everyone is invited to experience this opportunity together, brought by Lendu International Art Camp (LIAC#4)!
'Keep on Charging!'
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
Editor GASZI Magazine
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