Dr. JG: 

 

1. Identity - the term Outsider art, what's your position, what do you use, how do artists themselves feel about the term? Different kinds of outsider artist you encounter?

  

Tan Sei Hon (TSH):

 

• Outsider art = deviants, lunatics and criminally insane while Art brut = misfits and eccentrics. 

• When in doubt, I turn to Raw Vision’s list of definitions but here in Malaysia I see Dubuffet’s original ‘Art Brut’ term as described by Colin Rhodes to mean ‘simplicity and naturalness as well as ill breeding and clownishness’- more apt as it is reflective of the temperaments/ personalities of the artists I considered to be ‘outsiders’ here.   

• Perhaps Roger Cardinal was influenced by Colin Wilson’s ‘The Outsider’(1956) when he came up with the English equivalent which includes the sense of alienation? 

• Artists who are labeled as ‘outsiders’ don’t mind it as long as it does not hinder them from exhibiting or selling their works wherever they wish. These artists are aware that what they are producing is different from the mainstream but do not feel it should exclude them or others from exhibiting together.  

• Most of the artists who are conveniently lumped under the ‘outsider art’ category here in Malaysia are either self-taught or naive style painters who are uninformed about art in general or art history in particular (most came from non-art background) 

 

Dr.JG: 

 

2. Exhibiting Outsider artists - 

 

‘What's the experience, reactions from public, collectors etc, any differences to wider contemporary art on say how you promote, programme, sell?’

 

TSH: 

 

• My experience in organizing such exhibitions have been very satisfying on a personal level as I get to push my agenda/ interest. Since I know many commercial galleries will not take a chance to exhibit such “artists” as their clients and themselves are into the contemporary mainstream stuff, I had to look for venues that are not profit driven or galleries still new to the scene.  Even though my ‘outsider art’ exhibitions most of the time do not generate any sales, we do get some publicity, especially for the artists, which is my main objective anyway.   

• The public’s reaction is OK I guess from what I gather after a few shows (though I’m indifferent to the public). However, I don’t remember seeing any of the local collectors at my shows… (They are more into the contemporary mainstream stuffs anyway) 

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Dr.JG:

 

3. Discovery - the route to being termed an outsider artist is different to that of conventionally trained artists - have you 'discovered' an outsider artist? How? I am interested in this because I would like to design a call for Outsider artists in Singapore.

  

TSH: 

 

• Most of the ‘outsider’ artists I know and became close with were introduced by other artists especially those without formal training, and those in the underground music scene as well as those from the marginalized communities (LGBT).

• You will need to be on the ground and ask around, that’s the best way. Someone will know someone who they think fit the ‘outsider’ tag.  

• Most ‘Outsider’ “artists” are unaware they fit under that category. Most just do art for personal reasons or for pleasure while those who rush to claim that tag are definitely NOT ‘outsider’ artists.      

 

Dr.JG: 

 

4. The Market - how do outsider artists make a living, as artists? how does the market treat them? are they presented differently? How do collectors value Outsider Art? Any specialist galleries? Art fairs in the region (Like the New York Outsider Art fair), what of the secondary market? what explains the relative lack of a secondary market for Outsider Art? Any different ways Outsider artists make a living (e.g. commercial tie-ups)? 

 

TSH: 

 

• Most ‘outsider’ artists have friends who support by buying their works but it is not enough to sustain them in the long term. So, they do odd jobs etc.  

• There are no specialist galleries, no market or art fairs focusing on outsider artists in Malaysia. There was a gallery started by the late Yusof Gajah who had pioneered a naive style of painting which became quite popular. For more info about him, please see http://gajahgajahgalleryandstudio.blogspot.com/ 

• Lucien de Guise is another interesting person to interview if you want to know about the market for these works- https://www.instagram.com/crossxcultural/?hl=en

• Most private galleries are not interested as they and their clients are into contemporary mainstream art or decorative art (full of cultural elements). 

• No secondary market for most except for the works by Dzulkifli Buyong (a member of the Wednesday Art Group) and Zulkifli Dahlan (from the art collective called Anak Alam)

• Malaysian art collectors in general prefer something that is skillfully made, aesthetically pleasing with its value appreciating over time, all of which are valid reasons for collecting art. However, ‘Outsider’ art is crude, strange, ugly and deemed worthless in monetary terms. I personally know less than 5 people who had actually bought outsider art works.

 

Dr.JG:

 

5. Authenticity - the idea that outsider artists are disinterested in the market is often referenced, and regarded as being part of their identity or defining characteristic. What in your experience is the attitude of outsider artists to the market?

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TSH: 

 

• ‘Outsider’ artists, like mainstream artists do not shun the market. Unlike many mainstream artists however, they were not formally trained and naive when it comes to the art game or the art ecosystem. 

• They are unsophisticated, clumsy in terms of approach and use of materials though they’re obsessed with their own works and are happiest when making art. It is probably because their works looked raw when compared to mainstream art that the myth of authenticity came about.

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