森蘇·阿里凡

The work is in good condition overall, as is the canvas, which is clear and sound. There is minor wear and handling on the margins of the painting. Examination under ultraviolet light reveals no signs of restoration. Unframed, on stretcher.
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A relatively younger contemporary artist, Samsul Arifin draws inspiration from his childhood in Indonesia to create provocative pieces that analyse the effects modernization may have on a society. His present work, Untitled, aptly demonstrates the artist’s ability to view the environment through the eyes of a child, providing insight into what younger generations may perceive to be the norm, as per the opportunities provided to them by their government. Dressing up the painting as a series of youthful scribbles, has enabled the artist to use the pictorial language of childhood to address, and subsequently attack, larger and more mature issues.

Born during President Suharto’s New Order Administration (1965-1998), Samsul experienced the omnipresent power of the military, bearing witness to the government’s schemes to instil balance within the country. Within this paradigm, the present painting may act as a visual autobiography of the artist’s childhood. Sitting in the corner, his eyes staring intently at the action being played out, is the artist’s avatar Goni, the rag doll that acts as Samsul’s eyes, heart and head throughout most of his works. Clutching a pencil as if it were a talisman, or merely a tool to record memories, Goni’s presence lends interest to the composition of the painting. Contrasting with the monochrome colour scheme of the battlefield, the doll is a welcome diversion from the scene materializing on the wall.

The absence of a title provides the painting with a certain lyricism, for the ambiguous narrative of the battle scene inspires further investigation from the viewer. Goni with his wide-eyed stare provides clues with his pencil, assuming the role of owner of the drawings. However, he and the viewer are merely a part of the artist’s creative vision. As a three-way dialogue Untitled may provide more questions than answers, with the rag doll’s pencil poised to fill in the gaps.

Growing up in a family of tailors, Samsul understood the importance of education as means to provide security, for schools, teach children to think independently, and manifest their own futures. Modernization has assisted in the country’s current development, healing the wounds inflicted by the Asian financial crisis in 1997 that effected Indonesia enormously.

However, as expressed throughout his oeuvre, the artist believes that an economic divide remains amongst the populace, for not every child is able to have a secondary education. Therefore, armed with his utensil, ready for action, Goni becomes the champion of intellectual freedom.

Economic progress may provide countries with confidence in their global standing.  However, as the present painting demonstrates, these successes may not be as valuable if the government cannot provide equal opportunities for their citizens. Samsul’s painting, Untitled, shares insight into how children may perceive their existence growing up in such a world. As a society continues to grow and expand, the younger generation must also learn how to adapt and evolve. As the artist communicates within the work, a developing country is not represented merely by its material growth, but rather by the happiness of its people.