Chan Pisey, born 1983:
"I am a female Khmer artist and I have Khmer blood. I feel very hurt when I hear about the 1.7 million Cambodians who died during the Khmer Rouge regime. Although I did not live through that period, I still feel terrified by the actions of Pol Pot, the vicious Khmer Rouge and how these affected innocent people."
Pisey studied art at PHARE (Ponleu Selapak Art School) in her hometown, Battambang, from 1997 - 2002). She moved to Phnom Penh to further her studies at SETEC Institute (2003 - 2004), where she continues to work as an artist, art teacher and illustrator.
"I am a female Khmer artist and I have Khmer blood. I feel very hurt when I hear about the 1.7 million Cambodians who died during the Khmer Rouge regime. Although I did not live through that period, I still feel terrified by the actions of Pol Pot, the vicious Khmer Rouge and how these affected innocent people."
Pisey studied art at PHARE (Ponleu Selapak Art School) in her hometown, Battambang, from 1997 - 2002). She moved to Phnom Penh to further her studies at SETEC Institute (2003 - 2004), where she continues to work as an artist, art teacher and illustrator.
Chath Piersath, born 1970:
“My works show a relationship between then and now. I paint about death and violence, but also hopes and dreams to move forward.”
Piersath fled to the USA in 1981 and started painting as a coping mechanism. Besides that, he works with other traumatized people. Piersath is based in the USA and Cambodia.
“My works show a relationship between then and now. I paint about death and violence, but also hopes and dreams to move forward.”
Piersath fled to the USA in 1981 and started painting as a coping mechanism. Besides that, he works with other traumatized people. Piersath is based in the USA and Cambodia.
Chan Nawath, born 1975:
“Children received very little education under the KR, just ideological training. The children were torn away from their parents and never knew their family’s warmth.”
Nawath studied at the Royal University of Fine Arts (RUFA) and won first prize in a painting competition on HIV/ AIDS. He has contributed to many group exhibitions and also works with children and foreign artists.
“Children received very little education under the KR, just ideological training. The children were torn away from their parents and never knew their family’s warmth.”
Nawath studied at the Royal University of Fine Arts (RUFA) and won first prize in a painting competition on HIV/ AIDS. He has contributed to many group exhibitions and also works with children and foreign artists.
Chhim Sothy, born 1969:
“Angkar created the phrase “wheel of history”, a wheel that keeps moving forward. Those who inserted their hands would have their hands cut off. Those who inserted their legs would have their legs cut off. However, in the end, even those who were not involved died. They died with extreme injustice.”
Sothy studied at the Royal University of Fine Arts (RUFA). He specialized in painting Buddhist themes and has exhibited internationally. He also works at the Ministry of Culture and Fine Arts.
“Angkar created the phrase “wheel of history”, a wheel that keeps moving forward. Those who inserted their hands would have their hands cut off. Those who inserted their legs would have their legs cut off. However, in the end, even those who were not involved died. They died with extreme injustice.”
Sothy studied at the Royal University of Fine Arts (RUFA). He specialized in painting Buddhist themes and has exhibited internationally. He also works at the Ministry of Culture and Fine Arts.
Denis Min Kim, born 1981:
“Children are always the first victims of human atrocities. They are the least educated and most easy to manipulate. Painting their bodies very simply, almost like hand puppets, emphasizes complete control over them. I used pictures from Tuol Sleng to create portraits with aspects of caricature.”
Denis Min Kim was born in France. He was educated at Ecole Superieure d’Art de Marseille. For his work, he mostly uses charcoal and Chinese ink.
“Children are always the first victims of human atrocities. They are the least educated and most easy to manipulate. Painting their bodies very simply, almost like hand puppets, emphasizes complete control over them. I used pictures from Tuol Sleng to create portraits with aspects of caricature.”
Denis Min Kim was born in France. He was educated at Ecole Superieure d’Art de Marseille. For his work, he mostly uses charcoal and Chinese ink.
Hen Sophal, born 1958:
“In this painting I wanted to convey three messages. Firstly, I want to remind the survivors of the regime of the importance that this time had on their lives, so they don't forget. Secondly, I want to persist with the international bodies who have brought the Khmer Rouge to trial. Thirdly, I want to show the real face of the regime to the younger Cambodian generation.”
Sophal studied at Royal University of Fine Arts (RUFA) from 1982 – 1985 and works at the Ministry of Culture and Fine Arts. He is also the owner of Hen Sophal Visual Art Gallery and has won numerous competitions.
“In this painting I wanted to convey three messages. Firstly, I want to remind the survivors of the regime of the importance that this time had on their lives, so they don't forget. Secondly, I want to persist with the international bodies who have brought the Khmer Rouge to trial. Thirdly, I want to show the real face of the regime to the younger Cambodian generation.”
Sophal studied at Royal University of Fine Arts (RUFA) from 1982 – 1985 and works at the Ministry of Culture and Fine Arts. He is also the owner of Hen Sophal Visual Art Gallery and has won numerous competitions.
Hiem An Kanitha, born 1984:
“I used to hear my parents talk about the suffering during the Pol Pot regime. I can imagine that it is better for them to keep to their normal life and to be silent and deaf. In the darkness of the Pol Pot regime what can the people do to find their rights as human beings? This is a question without an answer."
Kanitha graduated from Royal University of Fine Arts (RUFA). She describes drawing as a way to express emotions that she cannot put into words.
“I used to hear my parents talk about the suffering during the Pol Pot regime. I can imagine that it is better for them to keep to their normal life and to be silent and deaf. In the darkness of the Pol Pot regime what can the people do to find their rights as human beings? This is a question without an answer."
Kanitha graduated from Royal University of Fine Arts (RUFA). She describes drawing as a way to express emotions that she cannot put into words.
Kchao Touch, born 1982:
“When I hear people speak about the Khmer Rouge it makes me stressed and very sad. I don’t want to believe that this happened in my country. While I was painting this piece, I felt something very strong, it made me feel sick. I was not a witness to the Khmer Rouge, I’ve only seen them in books and on film…I don’t want to see them again.”
Touch studied at PHARE Ponleu Selapak Graphic Arts School from 1998 to 2003, where she now teaches. Touch is based in Battambang, where she co-manages the "Lotus Art Space".
“When I hear people speak about the Khmer Rouge it makes me stressed and very sad. I don’t want to believe that this happened in my country. While I was painting this piece, I felt something very strong, it made me feel sick. I was not a witness to the Khmer Rouge, I’ve only seen them in books and on film…I don’t want to see them again.”
Touch studied at PHARE Ponleu Selapak Graphic Arts School from 1998 to 2003, where she now teaches. Touch is based in Battambang, where she co-manages the "Lotus Art Space".
Kong Channa, born 1983:
“I made my installation accessories from red beans, beans, rice, cotton, glue, speakers, and dress hanger. The reason why I used these materials for my work was that even though agricultural crops were more common in the Khmer Rouge, people did not have enough food to eat.” Kong Channa graduated from the Rey Yum in 2005.
“I made my installation accessories from red beans, beans, rice, cotton, glue, speakers, and dress hanger. The reason why I used these materials for my work was that even though agricultural crops were more common in the Khmer Rouge, people did not have enough food to eat.” Kong Channa graduated from the Rey Yum in 2005.
Khvay Samnang, born 1982:
“In our world there are many good and bad stories. Even if we want to forget the past, we cannot. When we see this situation it seems we are in it, in that time. We feel pity for good people who lost their lives and who made no mistakes. The Khmer Rouge did such bad things, for a long time until many people had died. They took away our nationality, education, religion and knowledge.”
Khvay Samnang studied painting at the Royal University of Fine Arts (RUFA) in Phnom Penh. In 2017, he was invited to Documenta 14 in Kassel / Athens.
“In our world there are many good and bad stories. Even if we want to forget the past, we cannot. When we see this situation it seems we are in it, in that time. We feel pity for good people who lost their lives and who made no mistakes. The Khmer Rouge did such bad things, for a long time until many people had died. They took away our nationality, education, religion and knowledge.”
Khvay Samnang studied painting at the Royal University of Fine Arts (RUFA) in Phnom Penh. In 2017, he was invited to Documenta 14 in Kassel / Athens.
Leang Seckon, born 1974:
"The purpose of my painting is to reflect the shadow of a person. When we move forward our shadow stays behind us, but if we try to pursue our shadow it darts away. The shadow in my painting is moving towards us. It mirrors who we are and what we are doing. This shadow reflects an interim regime in which people committed violent crimes, lied and refused to tell the truth. It shows the fears of those who committed the crimes and their fears for the consequences of their actions. The mirror is reflecting the guilty- those who killed and destroyed our nation.”
Seckon received his Bachelor of Arts degree from Royal University of Fine Arts (RUFA). He's considered one if Cambodia's leading contemporary artists, represented by the London-based gallery Rossi & Rossi.
"The purpose of my painting is to reflect the shadow of a person. When we move forward our shadow stays behind us, but if we try to pursue our shadow it darts away. The shadow in my painting is moving towards us. It mirrors who we are and what we are doing. This shadow reflects an interim regime in which people committed violent crimes, lied and refused to tell the truth. It shows the fears of those who committed the crimes and their fears for the consequences of their actions. The mirror is reflecting the guilty- those who killed and destroyed our nation.”
Seckon received his Bachelor of Arts degree from Royal University of Fine Arts (RUFA). He's considered one if Cambodia's leading contemporary artists, represented by the London-based gallery Rossi & Rossi.
Oeur Sokuntevy, born 1983:
“My painting shows a young girl in sexy clothes making a phone call. You could say the girl is me. She is staring through the window overlooking the river to a suburban area. She is thinking hard about the future. At her feet there is a dead body, bloodstains and some ropes. I am still young and I don’t want to think about the past, only about the future. That is why the girl in the picture is looking ahead although she knows that a lot of bad things took place in the past. She doesn’t want to look back.”
Sokuntevy studied Art and Painting from 2001 to 2004 at PHARE Ponleu Selapak Art School in Battambang. Nowadays, Sokuntevy lives and works in Berlin / Germany.
“My painting shows a young girl in sexy clothes making a phone call. You could say the girl is me. She is staring through the window overlooking the river to a suburban area. She is thinking hard about the future. At her feet there is a dead body, bloodstains and some ropes. I am still young and I don’t want to think about the past, only about the future. That is why the girl in the picture is looking ahead although she knows that a lot of bad things took place in the past. She doesn’t want to look back.”
Sokuntevy studied Art and Painting from 2001 to 2004 at PHARE Ponleu Selapak Art School in Battambang. Nowadays, Sokuntevy lives and works in Berlin / Germany.
Pich Sopheap, born 1969:
“‘Cycle’ is a variation of a larger version I made in 2004. I connected two stomachs together to suggest ideas of family ties, a pattern of poverty and hunger, and the struggle to stay together with limited means.”
Sopheap grew up in the USA and returned to Cambodia in 2001, In 2005 he organized the first Cambodian art festival, Visual Arts Open (VAO), together with Linda Saphan. Nowadays he's one of Cambodia's leading artists, exhibiting world-wide.
“‘Cycle’ is a variation of a larger version I made in 2004. I connected two stomachs together to suggest ideas of family ties, a pattern of poverty and hunger, and the struggle to stay together with limited means.”
Sopheap grew up in the USA and returned to Cambodia in 2001, In 2005 he organized the first Cambodian art festival, Visual Arts Open (VAO), together with Linda Saphan. Nowadays he's one of Cambodia's leading artists, exhibiting world-wide.
Piteak Sokuntak, born 1967:
“Through my painting I want to show how the Khmer Rouge replicated foreign ideologies and applied them to our society without alteration to suit the actual circumstances of the nation and the needs of the Cambodian people. They should have considered Cambodian people more and applied the new ideology in conjunction with the old one.”
Piteak studied from 1988 to 1991 at RUFA and became a monk in 1994. He began painting in 1997 and has painted and sketched classical drawings of the Ramayana story for HM Samdech Preah Norodom Sihanouk. Based on classical drawings, modern visual icons and using accessible materials, his work reflects his personal journey as an artist and a street-living individual.
“Through my painting I want to show how the Khmer Rouge replicated foreign ideologies and applied them to our society without alteration to suit the actual circumstances of the nation and the needs of the Cambodian people. They should have considered Cambodian people more and applied the new ideology in conjunction with the old one.”
Piteak studied from 1988 to 1991 at RUFA and became a monk in 1994. He began painting in 1997 and has painted and sketched classical drawings of the Ramayana story for HM Samdech Preah Norodom Sihanouk. Based on classical drawings, modern visual icons and using accessible materials, his work reflects his personal journey as an artist and a street-living individual.
Prom Vichet, born 1956:
“Which families were not frightened and broken? I can’t forget the tragedies suffered by my family in the Pol Pot time.”
Vichet studied at RUFA just before the KR came to power. He has worked as an artist in the field of education throughout his whole career.
“Which families were not frightened and broken? I can’t forget the tragedies suffered by my family in the Pol Pot time.”
Vichet studied at RUFA just before the KR came to power. He has worked as an artist in the field of education throughout his whole career.
Sao Srey Mao, born 1986:
“The time is long but runs so fast for me, there is one story of the Khmer rouge, a story of my mother, my grandmother and father, neighbors and no-one can ever finish the story, for tears gag them. To heal, I know everything will just take time and everything will be in the shadows. History never dies, the spirits always lives on so we take care of our spirits. It not our past but our future that we look to now.”
Srey Mao graduated from PHARE Ponleu Selapak in 2006 and works at the Angkor Centre for Conservation of Biodiversity, where she uses painting as an environmental education tool and teaches drawing. She also exhibited her own works in 2008.
“The time is long but runs so fast for me, there is one story of the Khmer rouge, a story of my mother, my grandmother and father, neighbors and no-one can ever finish the story, for tears gag them. To heal, I know everything will just take time and everything will be in the shadows. History never dies, the spirits always lives on so we take care of our spirits. It not our past but our future that we look to now.”
Srey Mao graduated from PHARE Ponleu Selapak in 2006 and works at the Angkor Centre for Conservation of Biodiversity, where she uses painting as an environmental education tool and teaches drawing. She also exhibited her own works in 2008.
Sin Soda, born 1980:
“The main idea behind my piece is to reveal people’s hardship during the Khmer Rouge regime. They were separated from their families and most lost their loved ones. Some of them were killed and many others starved. The colour black represents the sadness and the suffering of the prisoners. The smiles on their faces show their innocent imprisonment.”
Soda graduated from RUFA in 2006. Her work emphasizes mask making and she has participated in exhibitions at art spaces like Meta House. In 2007 she became a member of an art group of women founded by Cambodian artist Linda Saphan.
“The main idea behind my piece is to reveal people’s hardship during the Khmer Rouge regime. They were separated from their families and most lost their loved ones. Some of them were killed and many others starved. The colour black represents the sadness and the suffering of the prisoners. The smiles on their faces show their innocent imprisonment.”
Soda graduated from RUFA in 2006. Her work emphasizes mask making and she has participated in exhibitions at art spaces like Meta House. In 2007 she became a member of an art group of women founded by Cambodian artist Linda Saphan.
Seoung Vannara, born 1962:
“Normally, both your family and your society provide you with education, love, forgiveness, sympathy and a sense of value as a human being. Many people grow up surrounded by happiness in their society and family. I believe Khmer people think a lot about their violent past, the torture, both physical and mental, and the fact that during the KR, Khmers killed those of their own nationality.”
Vannara studied at RUFA and at Academy of Fine Arts in Warsaw and is currently a lecturer in painting at the Faculty of Plastic Arts at RUFA.
“Normally, both your family and your society provide you with education, love, forgiveness, sympathy and a sense of value as a human being. Many people grow up surrounded by happiness in their society and family. I believe Khmer people think a lot about their violent past, the torture, both physical and mental, and the fact that during the KR, Khmers killed those of their own nationality.”
Vannara studied at RUFA and at Academy of Fine Arts in Warsaw and is currently a lecturer in painting at the Faculty of Plastic Arts at RUFA.
Suos Sodavy, born 1955:
“My painting is black and white. I used the images of those who were killed because I believe that their spirits are not resting in peace. They hadn’t realized that they were going to die or why they had to die. The pictures I included were taken from behind, not from the front. They refer to every Khmer Rouge victim, not only my personal lost ones.”
Sodavy studied at the Academy of Fine Arts in Budapest. Today, he is Deputy Head of the Plastic Arts and Handicraft Department at the Ministry of Culture and Fine Arts in Cambodia.
“My painting is black and white. I used the images of those who were killed because I believe that their spirits are not resting in peace. They hadn’t realized that they were going to die or why they had to die. The pictures I included were taken from behind, not from the front. They refer to every Khmer Rouge victim, not only my personal lost ones.”
Sodavy studied at the Academy of Fine Arts in Budapest. Today, he is Deputy Head of the Plastic Arts and Handicraft Department at the Ministry of Culture and Fine Arts in Cambodia.
Svay Ken, 1933 - 2008:
“You can see me sitting on a bench at the Khmer Rouge Hospital without a shirt, waiting for rice porridge. It is already late, but we haven’t received it yet. The clock you can see in this painting wasn’t there at that time. We guessed the time by the sun.”
Ken worked as a waiter and handyman at Hotel Le Royal for 34 years. During that time he began to make sketches of everyday Cambodian life. Articles on his work have appeared in numerous publications including Asian Art News, Vietnam Times and the New York Times.
“You can see me sitting on a bench at the Khmer Rouge Hospital without a shirt, waiting for rice porridge. It is already late, but we haven’t received it yet. The clock you can see in this painting wasn’t there at that time. We guessed the time by the sun.”
Ken worked as a waiter and handyman at Hotel Le Royal for 34 years. During that time he began to make sketches of everyday Cambodian life. Articles on his work have appeared in numerous publications including Asian Art News, Vietnam Times and the New York Times.
Tith Kanitha, born 1987:
“I titled my work “Prison Without Walls”. Throughout Cambodia during the regime the Khmer Rouge did not need to use a prison because it was useless to chain people as they had no freedom anyway.”
Kanitha studied Interior Design at the Royal University of Fine Art (RUFA) in Phnom Penh. She exhibits her installations in museus and galleries world-wide.
“I titled my work “Prison Without Walls”. Throughout Cambodia during the regime the Khmer Rouge did not need to use a prison because it was useless to chain people as they had no freedom anyway.”
Kanitha studied Interior Design at the Royal University of Fine Art (RUFA) in Phnom Penh. She exhibits her installations in museus and galleries world-wide.
Tith Veasna, born 1984:
“To Cambodians a pin attached to a black piece of cloth represents mourning. Cambodians believe in Buddhism; however, during the regime people were not allowed to express mourning over any death. They suffered tremendously yet they had no way of expressing it, as sorrow was seen as betrayal of the regime and led to death. It was a nightmare in the history of Cambodia – Cambodians killed Cambodians.”
Veasna graduated from RUFA and has exhibited at different galleries in Phnom Penh. She works for the Ministry of Culture and Fine Arts and teaches RUFA students.
“To Cambodians a pin attached to a black piece of cloth represents mourning. Cambodians believe in Buddhism; however, during the regime people were not allowed to express mourning over any death. They suffered tremendously yet they had no way of expressing it, as sorrow was seen as betrayal of the regime and led to death. It was a nightmare in the history of Cambodia – Cambodians killed Cambodians.”
Veasna graduated from RUFA and has exhibited at different galleries in Phnom Penh. She works for the Ministry of Culture and Fine Arts and teaches RUFA students.
Tor Vutha, born 1975:
Is a Professor of Visual Arts in Battambang and founded the PHAREPONLEU SELPAK (PPS). In 2005 he became the director of the PPS circus travelling through Europe. He continues to exhibit his work both in Europe and Cambodia.
Is a Professor of Visual Arts in Battambang and founded the PHAREPONLEU SELPAK (PPS). In 2005 he became the director of the PPS circus travelling through Europe. He continues to exhibit his work both in Europe and Cambodia.
Vandy Rattana, born 1979:
“My installation shows a political chessboard. There are two blocks, or countries, in the installation. They are the United States and the former Soviet Union. Cambodia was one of the countries victimized by the ideologies of these two blocks, symbolized by the red square among all the black squares in the installation.”
Rattana is a self-taught photographer. He currently lives in China. His work is exhibited world-wide.
“My installation shows a political chessboard. There are two blocks, or countries, in the installation. They are the United States and the former Soviet Union. Cambodia was one of the countries victimized by the ideologies of these two blocks, symbolized by the red square among all the black squares in the installation.”
Rattana is a self-taught photographer. He currently lives in China. His work is exhibited world-wide.
Vann Nath, 1946 - 2011:
“I was arrested on December 30, 1977 because I was accused of mobilizing a movement against the Revolutionary Policy, and of being a CIA agent. In the file they put down “Painter in an enemy zone”. After 7 days of being tortured and interrogated at Kandal Pagoda in Battambang, I was transported to Phnom Penh with over 30 other prisoners in two trucks.”
Before the war, he painted movie posters and portraits. Vann Nath was one of seven survivors of Tuol Sleng, where nearly 20,000 people died. In 1979 Vann Nath was asked by the new government to paint pictures of the prison tortures for the world to learn of the secret horrors of the "Killing Fields." Some of these moving works hang in the prison-turned-museum today.
“I was arrested on December 30, 1977 because I was accused of mobilizing a movement against the Revolutionary Policy, and of being a CIA agent. In the file they put down “Painter in an enemy zone”. After 7 days of being tortured and interrogated at Kandal Pagoda in Battambang, I was transported to Phnom Penh with over 30 other prisoners in two trucks.”
Before the war, he painted movie posters and portraits. Vann Nath was one of seven survivors of Tuol Sleng, where nearly 20,000 people died. In 1979 Vann Nath was asked by the new government to paint pictures of the prison tortures for the world to learn of the secret horrors of the "Killing Fields." Some of these moving works hang in the prison-turned-museum today.
Yam Sokly, born 1984:
“The mirror is a tool for reflection. When standing in front of a mirror with a kind and compassionate person, we see an angel playing a trumpet from heaven. If we put a member of the Khmer Rouge in front of a mirror we see the shocking images of men -- close to 2 million Cambodians -- slaughtered, worked to death or killed by starvation.”
Sokly studied architecture at RUFA; he works as an architect in Phnom Penh.
“The mirror is a tool for reflection. When standing in front of a mirror with a kind and compassionate person, we see an angel playing a trumpet from heaven. If we put a member of the Khmer Rouge in front of a mirror we see the shocking images of men -- close to 2 million Cambodians -- slaughtered, worked to death or killed by starvation.”
Sokly studied architecture at RUFA; he works as an architect in Phnom Penh.
