On returning to the tribe Rahic felt keenly the unease of the tribe over connection to a ruptured history it could be impossible to retrieve. He observed the pressure caused by the speed at which tradition was being lost and this led to his decision to trace that culture back to its roots. To that end, Rahic used the language of lines from traditional vessels and his mother culture as a focus for artistic expression, while simultaneously embracing wood sculpture and performance art. The later “Ending and Beginning" series marked both a temporary end and new start.
Rahic seeks to reposition, trace and carry forward the spirit of tradition through lines and language that are also modern, utilizing his own response to past to the present. In terms of preserving tribal culture, he has been a resident artist in several villages where he has created art and sought out creative opportunities, leading members of the tribe on an exploration of their own circumstances through art. At the same time, the abstract sculpture lines used by Rahic represent a departure from the stereotypical view of “indigenous art,” and as such encourage debate as to “what is indigenous art?”
Having observed ocean, mountain and tribe related objects Rahic starts to engage in deconstructive action, reinterpreting the cultural framework in which the tribe exists, including the age set organization, political structure etc. He then takes cultural allusions and transforms them into creative methods and the semiotic language employed in his works. Perhaps the best examples of this are the mortise structure used in sculptures, ruptured wooden patterns, and the toko (giant ramshorn snail). In the Ponal (Incomplete) series Rahic published “Turbid”, a combination of Amis and Mandarin Chinese languages, which represents yet another shift in his creative direction.
Action Project for Typhoon marked a creative starting point for the five year period in which Rahic picked up flip-flops lost and drifting on the water. This connection with finished products corresponds to the material transformation of Austronesian culture and the cause and effect outcome of the relationship to wider society. This project was also an attempt to break away from the barriers of cultural background and use language with which mainstream culture could empathize, thereby accessing the spiritual essence of tribal culture, facilitating cross cultural understanding and a shared outlook. For example, environmental problems and awareness, the urgency and excesses of consumer society, a focus on human nature, exploration of one’s own spirit etc.
Action Project for Typhoon made use of discarded flip-flops found on the coast to engage in repeated reconstruction and deconstruction. After five years of exhibitions, the new understanding reached was that finding things blown apart by a typhoon, represents merely one instance after another aggressive act of superficiality and that as the atoms rent asunder by a typhoon gradually come to rest a deeper implosion might be approaching. When the fragments of history, culture and self, torn apart by strong winds and currents fell to earth they seemed to come together almost unconsciously, accelerating a more positive approach to facing reality and with the Pacific Ocean as a catalyst Rahic moved on to The Space of Fifty Steps.