I read Dr. Jalaini Abu Hassan's (Jai) Aduhai Adinda: Warkah Buat Pelukis Muda with great interest. There are many things that I agree with, especially his concern about the importance of knowledge, reading culture and the ability of artists to articulate the ideas behind their works.
However, I would like to slightly differ in perspective.
Many young artists today are products of the university system. They were shaped by the education system that we built. Many of them were not really taught how to become an art worker, how to function as a professional within the art ecosystem, rather than simply being an artist.
Many do not know how to write an artist statement.
Many do not know how to communicate with galleries.
Many do not know how to manage their career professionally after leaving university.
And this is not necessarily the fault of any individual. It simply shows that there are still gaps within the system that we need to address.
So the question is, do we need to find someone to blame?
Or should we ask a more important question:
What can we provide for the younger generation?
I also slightly disagree with the idea that artists can simply become more intellectually mature once they leave university. To me, maturity does not happen overnight.
Just because someone reaches their twenties or thirties, it does not automatically mean they become mature. Life is not a straight line. Everyone grows through different experiences, challenges, failures and moments of reflection.
Artists need time to mature.
I do agree with Dr. Jai that an artist should continue to grow beyond technical ability and visual language. The ability to articulate ideas, defend one's position and connect a body of work to a wider discourse is indeed part of becoming a mature artist. But I believe this kind of maturity takes years to develop. Experience alone is not enough. It needs time, reflection and opportunities to learn continuously.
At the same time, many young artists today are struggling simply to survive.
They need to produce works, but they also need a second or even third job just to sustain their lives.
Studio rent.
Bills.
Materials.
Transportation.
Daily expenses.
They are trying to survive while finding the time and energy to continue creating.
This reality cannot be separated from the discussion about intellectual growth.
We also need to acknowledge an uncomfortable truth about our art market.
Not every intellectually challenging artwork will find a home.
Many will eventually return to the studio.
On the other hand, aesthetically pleasing artworks often have a stronger chance of finding collectors. And there is nothing wrong with creating beautiful paintings. Beauty has always been an important part of art.
However, when the market rewards visual appeal more easily than ideas, it is understandable why many young artists choose a safer path.
Why do they paint beautiful paintings?
Because beautiful paintings sell.
But producing work that appeals to the market does not necessarily mean an artist lacks intellectual depth. Commercial realities and critical thinking are not mutually exclusive. Many artists navigate both at the same time.
Intellectual maturity is not always visible on the surface of a painting, nor should it be measured solely by familiarity with particular theories or thinkers. An artist can be deeply thoughtful through history, literature, philosophy, religion, local culture, lived experience and careful observation of the world around them.
The important thing is not simply what they read, but how knowledge shapes the way they think, question and create.
Is all of this the fault of young artists?
Definitely not.
Universities shape the way we think. I can say this because I am also part of the system.
I was once a student, and now I am also an educator.
We were not always trained to become highly critical thinkers. Some lecturers did create that space and I truly appreciate them. They challenged us, questioned us and pushed us beyond the obvious.
But many were also simply following the syllabus and working within the limitations of the institution.
And this is not a criticism towards lecturers.
Many of them are amazing educators.
But we also need to understand that their hands are tied.
They need to teach, supervise students, produce research papers, publish journals, fulfil institutional requirements and deal with many other responsibilities. Within those limitations, they do what they can.
That is why I feel it is too easy and perhaps too hasty, to place the burden solely on young artists.
This is not simply an issue of individual failure.
It is an issue of the ecosystem.
This reminds me of something Dr. Sulaiman Esa once mentioned while officiating a lecturers' exhibition at HOM Art Trans, if my memory serves me right. He spoke about the importance of having an artist talk alongside the exhibition opening. Yes, exhibition openings are social events, and there is nothing wrong with that. But an art talk can accompany the evening and make it even more meaningful.
Personally, I agree with this wholeheartedly.
I believe galleries can play a pivotal role by making artist talks and public discourse an essential part of every exhibition. Being able to listen to exhibiting artists speak about their works, their process and their ideas is invaluable not only for the audience, but also for the artists themselves.
Articulation is a skill.
Like painting, it requires practice.
The more artists are given opportunities to speak, discuss, defend and reflect on their practice, the more confident and thoughtful they become. Over time, these conversations help sharpen their thinking, deepen their understanding of their own work and contribute to a healthier culture of discourse within the art ecosystem.
Perhaps this is one small but meaningful step we can collectively take, rather than merely lamenting what young artists lack today.
If we truly want to see young artists grow intellectually, then universities, galleries, curators, writers, institutions and the art industry must create spaces for continuous learning after graduation.
The culture of knowledge should not end when someone receives their degree.
Perhaps the bigger question we should ask is not:
"Why are young artists not mature enough?"
But rather:
"What can we do to provide them with the space and opportunities to continue growing?"
Because ultimately, the future of our art scene is not determined only by the artists we produce, but by the ecosystem we choose to build around them. Perhaps that is the more important question we should continue asking, not what young artists lack, but what we, as an art community, are prepared to provide.
Editor's Note: This essay is written as a reflection on Dr. Jalaini Abu Hassan's "Aduhai Adinda: Warkah Buat Pelukis Muda". It is intended to continue an important conversation about young artists, art education, and the Malaysian art ecosystem.
Comments
Post a Comment