CORE contemporary art

In the seven or so years that we’ve worked with the multi-dimensional artist Raja Azeem Idzham – better known as Ajim Juxta – the focus of his visual art has been the Arcology series of works, visual prognostications and predictions of a possible future world based on the artist’s observations of current trajectories and trends. Informed by today’s world increasingly driven by technology, coupled with what can only be described as callous disregard for nature and the environment, the artworks within the Arcology phase of Ajim’s career paints a dystopian tomorrow.

But as happenchance would have it, the world actually experienced another kind of dystopia instead, one caused by the COVID-19 pandemic. 

Without a doubt, the past two years has been a period of great challenge and strife for everyone. For Ajim it has, in addition, been a period of contemplation and introspection; memories resurfacing co-mingling with angst pondering the days to come, figuring out the many possibilities of what to explore next and where those explorations might take him. 

His contemplations and thoughts during this period, when the world was seemingly forced into a dystopian hiatus, also coincided with another realization: that he was approaching 40, a milestone many consider the start of mature adulthood. 

All these contributed to the almost two-year period as one necessitating Ajim to pause, reflect, and ponder. That said, for Ajim as an artist, this period was no less productive than pre-pandemic times, but certainly one that brought with it added unease.

Lamantara, a collection of recent works by the artist, is the product of this period of personal unease. 

Unlike his earlier series of works, where Ajim plays the role of commentator cum prognosticator, Lamantara delves into the psyche of the artist himself. The two year period of lockdowns and social estrangement gave Ajim pause to ponder about the twists and turns his life has taken thus far. And along the way, the places that have contributed towards shaping the artist we know him as today. 

There is a certain poetic depth in this collection of works. Lamantara, essentially a portmanteau of two Malay words, (ha)laman and antara, is a visualization of the in-between realm and state of mind, a crossroads of what has been and what is to come. It is the physical manifestation of the emotions and thoughts that surfaced during the time and space in-betwixt; pre- and post-pandemic, of his career so far and of the possibilities that lie ahead.

In these works, Ajim’s inner self is expressed more unambiguously. Deep personal ruminations are revealed through a broader use of colours in these works compared to what he’s previously produced. There is a seemingly strong connection within the Lamantara works to the physical spaces that Ajim has occupied in the past, hinted by the earthy tones, highlighted with shades of green and yellow, a dreamlike return to some of the places he’s been. No doubt, the memories evoked related to these places are mostly fond ones, times and places that have provided constructive experiences during his growing up years.

Juxtaposing this dreamlike calm is the bold use of red within the Aksara, Meratapi, and Sanubari groupings of work. Red – often associated with emotion, yearning, and burning desire – hints at the angst-filled emotions that emerged during this period. Pure emotion pours out of these works, a sense of displeasure with what has become of the world, but at the same time a yearning for a better world to emerge, and the continued search for what role Ajim would play within it.

By no measure have the many ponderous questions that emerge as emotive visualizations through these works been answered. But that’s okay; it is our strong belief that an artist who strives to continuously question is an artist striving to continually grow.

It is through further contemplation of these arising questions that insights and realizations may be uncovered, which in turn will undoubtedly lead to more questions to unravel. Ajim is well aware of this.

The process of creative contemplation that has produced Lamantara is not about providing any kind of certainty, but of creating more avenues and possibilities for him to explore. And with those, more opportunities to grow.

Artemis Art
September 2022