CURATOR'S NOTES
mind(E)scape: A Chaotic Landscape of the Human Mind
By Elizabeth Low Sue Mei
Compiled by five authors, the book Ways of Seeing consists of a selection of essays, some of which included words and images, and some which only included images. One of the authors, John Berger, states:
“Seeing comes before words. The child looks and recognizes before it can speak.” [1]
This is the first line, in the first essay of the book – and somehow, such a simple statement holds much truth. For those of us with sight, we see before we are able to verbalise our understanding of our surroundings. The way we see things are influenced by the way our experiences and adopted beliefs have moulded us. With the process of his art-making being an outlet of self-discovery through exploration of past experiences and personal memories, it can be said that Fadli Mokhtar’s work is a reflection of that statement. Consisting of fragmented memories and influences of the environment around him, Fadli paints what he is unable to put into words.
Growing up living in the city during the weekdays and returning to his kampong during the weekends, Fadli describes his childhood to have created complexity and confusion in his identity. His family was more traditional in their perspectives and way of life; this was a contrast to the socially accepted norm that he was surrounded by during the time he spent in the city. Today, he works and lives between Kuala Lumpur and Pahang, again finding himself between two places that differ in environment and way of life.
Sense of identity is an important part of development, its significance not exclusive to teenage years.[2] Our identity is something that shifts and grows with every experience throughout our lives. Having lived between two places at a time, and being abroad for several years (the artist lived in Japan for four years) where he was exposed to a different culture, Fadli’s practice is perhaps an effort for him to better understand how each experience continues to shape him every day. The series mind(E)scape is essentially a map in which the artist records and navigates through changes in his life. It is part of Fadli’s journey, puzzle pieces that belong to the larger picture that is ultimately his life.
Supplementing an additional meaning in to the title of the series, the “E” in mind(E)scape, spells out ‘escape’, potentially indicating that the mindscape created by the artist is in fact an escape from reality. Yet, if one were to dwell on that thought, what role does the word “escape” play in this artist’s journey of self-discovery? The phrase “lost in thought” comes to mind when reflecting on the clever play of words. While self-discovery does indeed appear to be an important part of his work, it is easy to lose sight of our intention to explore and study the subject at hand when dealing with the theme of memories. Where does one draw the line between acknowledging the impact of our past on our present selves, and losing ourselves in nostalgia of the past? Perhaps the mindscape created by Fadli attempts to find a balance between being wistful and reflective. Conceivably, the process of creating his work serves as a way for the artist to escape from the noise and distractions of the life he leads, to immerse himself into a contemplative state.
Bicara Bapak Dengan Anak Bilamana Ibu Menghijau
Monotype, Image Transfer and Collage on Canvas, 122 x 153 cm (2021) RM 3,000
From speaking to the artist, it is clear that his three children play a big role in his life. Frequently mentioned when conversing with Fadli, he claims to learn from his little ones, holding great respect for their pure child-like innocence and boldness when creating art; their intention is to express, and not to impress. The work Bicara Bapak dengan Anak Bilamana Ibu Menghijau (2021) from his latest series is a collaborative effort between the artist and his daughter. In efforts to tap in to his inner child, Fadli describes his process to be highly intuitive and spontaneous; essentially, his work never truly starts with a specific thought or memory. This brings a surreal element to Fadli’s work. Unplanned compositions and intuitive arrangements in art making can be associated with the Spaniard painter Joan Miró (1893-1938).
“…and as I paint the picture begins to assert itself under my brush. The form becomes a sign for a woman or a bird as I work.” – Joan Miró
Described by French poet, writer, and co-founder of the surrealist movement Andre Breton (1896-1966), to be the most surrealist of all the artists in the surrealist movement, this approach known as automatism allowed Miró to break free from previous influences. Miró’s work presented forms that were free of all aesthetic concerns and reasoning, potentially posing as a reflective state of his surroundings and his subconscious.[3]
Similarly, the current approach and style found in Fadli’s work embodies a sponge which absorbs the elements of his emotions, surroundings and experiences.