Exploring facets of the Bruneian Malay identity
By Aqilah Ali

Safwan Ahman graduated with a BSc in Computer Science from Newcastle University in 2017 and an MSc in Information Security from University College London in 2020. While his formal higher education is in science technology, the Bruneian-Malay artist has actually held the drawing pen and paintbrush long before this.

Safwan Ahman, ‘SB lu (But first, SB)’, 2021, oil on canvas, 40.64 x 30.48cm. Image courtesy of artist.

Portraits fascinate Safwan. He has drawn them since he can remember and admits his gravitation lies in how their smallest details can evoke emotions to tell all kinds of tales. His father, Ahman bin Haji Tusin, is an artist himself and encouraged Safwan to take art at A-Levels. There, he was taught by another artist by the name of Faizal Hamdan and had his painting skills sharpened.

Safwan Ahman, ‘Opposites’, 2012, acrylic on paper, 84.1 x 59.4cm. Image courtesy of artist.

‘Opposites’ (2012) is an acrylic portrait of himself and his sister, and is the first he has ever exhibited. The A-Level exhibition he partook in was titled ‘Black and White’, and unravelled to him a collective effort to grow the Brunei art scene. As the community around Safwan grew and as his artistic practice matured, he realised within him a drive to look into unexplored and even overturned facets of the Bruneian-Malay identity.

Safwan’s works now explore a nuanced intertwining of culture and identity. He proximates what is culturally accepted and culturally taboo, inviting viewers to imagine a world where culture and identity do not separate under societal pressures. Safwan then urges the question of why they do in reality.

Safwan Ahman with ‘Dayang Siti Ngalih Sudah’ (Miss Siti is Tired), 2020. Image courtesy of the artist.

In 2020, Safwan first professionally exhibited with two paintings at the ‘EMERGE 8: Voice’ exhibition by Creative Space Brunei. One was his first oil painting titled ‘Dayang Siti Ngalih Sudah’. Displayed in an inconspicuous corner of the gallery, this painting is of a woman giving the middle finger while donning the batik (a traditionally-dyed cloth). He addresses why Bruneian society tends to tell women how to behave or dress, and imagines a Dayang Siti exhausted from these societal expectations.

While Safwan has received positive feedback for his daring message, he has also received backlash for portraying what society deems inappropriate. Yet he regards these conversations as necessary as he continues to paint works that urge the exploration of how one’s beliefs are shaped by their environment.

Safwan Ahman, ‘Si Awang kan keluar (He wants to come out)’, 2021, oil on canvas, 100 x 80cm. Image courtesy of artist.

In ‘Si Awang kan keluar’ (2021), Safwan depicts a man putting lipstick on while wearing the Cara Melayu, a traditional formal wear for Malay men. Considerations of what is masculine and feminine are prompted, along with questioning whether or where one draws the line between them.

Safwan Ahman, ‘Wanita Melayu Terakhir (The Last Malay Woman)’ in Safwan’s home studio, 2022. Image courtesy of the artist.

In ‘Wanita Melayu Terakhir’ (2022), Safwan paints a quiet moment between a mother wearing the songket, a gold-threaded cloth, and her newborn child. The title of his painting is a Malay phrase typically describing a young Malay woman who is modern in thinking yet rooted in traditional values. Similar to ‘Dayang Siti Ngalih Sudah’, Safwan asks what society expects of women. However, he adds another layer of message by fashioning after the Renaissance’s ‘Madonna and Child’ paintings. Here he prompts what physical, emotional, mental and spiritual pressures are placed upon Bruneian mothers as well.

To Safwan, identity and culture are one. He paints with the belief that they intertwine regardless, that one does not chip away at the other, and that his art is a vehicle to spark conversations around self-expression and societal expectations.

Click here to read our conversation with Safwan Ahman.

About the Writer

Aqilah Ali is a recently awarded Chevening Scholar pursuing an MA in Cultural and Creative Industries at the University of Sussex. Prior to this, she was managing the content team at Brunei-based design agency CTRL+ Creative. When she is not engaging in theatre on the side, she can be found munching on chocolate, attending creative events, or resisting the urge to buy yet another book. Aqilah has written for 1001 Magazine, Art Asia Pacific, and Art & Market.

Aqilah was a participant in the inaugural A&M Education | Art Journalism 101 course.