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Systematic Belief, Ink, water colour, acrylic paint, tissue paper and charcoal on paper, 102 x 29.5 cms

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Systematic Belief, Ink, water colour, acrylic paint, tissue paper and charcoal on paper, 102 x 29.5 cms

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Viewed from top to bottom and corresponding to its colour, each panel symbolises the level of respect seen in this country. Money is power and status is revered in Cambodia. A wealthy businessman receives more respect than a monk and buddha in modern times. The charcoal smudging highlights the controversy of who respect should be given to. Thin patterned lines in the background references traditional views of respect. The gold flowing through all circles unfortunately shows where respect lies. (498)

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This piece promotes the importance of tradition and cultural heritage via Khmer clothing from throughout history. I was able to modernize vintage images of Cambodian people from throughout time, focusing solely on fashion. By modernizing these images with colour, slogans and branding it proves how prominent globalization has become here and how most Cambodians today are products of the West. This art series erases the border between old and new exposing the idea that Khmer traditions are fading.

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Stalking, Mixed Media-charcoal, graphite, pastel on paper, 45 x 248 cm

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Stalking, Mixed Media-charcoal, graphite, pastel on paper, 45 x 248 cm

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The looming figure of the plague doctor is captured in a stern, heartless,  pose, to symbolize death–and how it is unforgiving towards the living. I metamorphosed a vulture and a doctor. The feathered coat displays how the act of dying is similar to a vulture–it stalks the injured and old till their passing. The proportions are intentionally stretched out to resemble the torturous period where I had sleep paralysis–post the tragic death of my father.

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Disfigurement, Oil on canvas, 115 x 80 cm 

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Disfigurement, Oil on canvas, 115 x 80 cm 

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A homage to the tenacity of my Mum after the death of my father. Captured through the entanglement of Kouprey heads–representing the fact that death can severely disfigure the mind and body of those it affects. The Kouprey represents peace and prosperity in Cambodia, in this instance, it appears defeated and withdrawn. The vulture perched on top shows no mercy towards the living. The dark German-style embroidery in the background is a tribute to my Father’s culture, thus he is always with us.

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I am God, Assemblage Box-Reduction Cut Lino Printing, Felt tip pen, markers, and MDF, 35 x 26 x 26 cm

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I am God, Assemblage Box-Reduction Cut Lino Printing, Felt tip pen, markers, and MDF, 35 x 26 x 26 cm

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Researching Art history, "Napoleon Crossing the Alps" was most impressionable on me.  It made me reflect on narcissistic icons of today; notably Kim and Kanye West. Here, I juxtapose their desire for fame against religious icons and their comparison of themselves to God as a way of fueling their egos. The vulture appears again in this piece, hidden,–symbolizing the hidden sinister and prey-like nature of narcissism. The use of black versus white further amplifies the idea of good versus evil.

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Death is already bad enough! Fine tip pen on Fabriano paper, 78 x 58 cm

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Death is already bad enough! Fine tip pen on Fabriano paper, 78 x 58 cm

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At a recent Khmer funeral I was left feeling disgusted by the unruly children that showed no respect towards the formality and significance of this event.  I satirize them as vulture kids representing their sinful behavior. The figures on the carpet symbolize their respect for tradition and serenity. There is an obvious contrast between the dynamic movement of the children and those on the carpet. The expanse of negative space engulfing the kids represents the disruption of this tradition.

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Transformation, Felt tip pen on paper, watercolour, string, and Assemblage Box MDF, 30 x 21 x 40 cm

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Transformation, Felt tip pen on paper, watercolour, string, and Assemblage Box MDF, 30 x 21 x 40 cm

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As a child, I was told when birds die in a house it represents an impending death–a superstitious yet tragic reminder of my Father’s passing. The small vulture lying lifeless in its nest symbolizes discarding negativity. I wanted to expose my vulnerabilities and insufficiencies in this self-portrait, expressing my once negative outlook on the world. The frangipani flowers pay homage to my family who has suffered but supported me through this time. I have transformed and now see beauty again.

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Insensitivity, Pen on paper, 38 x 26.5 cm 

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Insensitivity, Pen on paper, 38 x 26.5 cm 

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Reflecting on the issues of cultural insensitivity, too often people are quick to act on desire than virtue. In the background is Angkor Wat (a symbolic treasure of Cambodian culture) and the 3 figures in the foreground exemplify what I too often see in traditional places within Cambodia; ignorance of cultural norms. Drawn in black and white to juxtapose the elements of good and evil and to symbolize how bad behavior is easily seen by natives of culture–like black on white.

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Integration, Mixed media-oil pastels, watercolours, pen on paper, 144 cm 

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Integration, Mixed media-oil pastels, watercolours, pen on paper, 144 cm 

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My mother is Cambodian but over time began to integrate many Western practices into her life because my father was German. This adaptation of “other cultures” can be seen as sinful within traditional Cambodian culture. I purposefully capture my mother–coloured with colours of the German flag, making her look menacing and evil. Behind her is a whirlpool representing her down spiral from traditional Cambodian culture and how this can be seen as a corruption of her mind.

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Now You See Me, Now You Don’t, Photography, digital manipulation, digital illustrations, 1189 x 708 mm

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Now You See Me, Now You Don’t, Photography, digital manipulation, digital illustrations, 1189 x 708 mm

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A self portrait and visual reflection of my internal conflicts and self doubt, butterflies represent growth, birds symbolise spiritual awakening, and the Queen of Hearts illustrates power in femininity. The lackluster factory reiterates the absence of embellishment I hold, while the weaved smoke demonstrates how every version cohesively creates the final product that is me. Regardless of the battles faced, and to be faced, I will continue to evolve its burdens into my vigor.

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The Cyclical Reigns, Digital Illustrations, 3567 x 2523 mm (each 1189 x 841 mm)

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The Cyclical Reigns, Digital Illustrations, 3567 x 2523 mm (each 1189 x 841 mm)

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Systemic wealth in Cambodian society is real. A title or a large sum of money can and is easily inherited, so, it raises the question, is there any need to work hard? Despite your best effort, can you surpass a child whose parents can quite literally give them the world?  I focused on one of my peers in  this surrealistic landscape, highlighting the fact that regardless of his effort or lack thereof, which family you're born into is really the main factor in determining their future success.

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Love’s Pareidolia, Monoprinted cloth on Fabriano Paper, 60 x 100 mm 

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Love’s Pareidolia, Monoprinted cloth on Fabriano Paper, 60 x 100 mm 

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This work is an appropriation of Magritte’s ‘The Lovers II’. It aims to critique social media’s impingement on romance. The inability to truly discern individuals, due to the “masks” worn online, this work reiterates the idea ‘how well do you really know someone’? The cloth symbolises the intangibility of knowing your online partner, while the intricate details simultaneously elicit a seemingly authentic connection between the two—working cohesively to create the irony within Love’s Pareidolia.

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Your Guardian Angel’s Tenacity, Digital Illustration, 2378 x 1682 mm (each 1189 x 841 mm)

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Your Guardian Angel’s Tenacity, Digital Illustration, 2378 x 1682 mm (each 1189 x 841 mm)

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Post the atrocities of the Khmer Rouge, my Grandma grew a small salon into a jewelry empire. Despite all her adversities, she continues to be the most determined woman I know—a woman who never lets me forget that “you never rest if you want to succeed.” The adaptable and tenacious fox has been utilised, further illustrating the relentlessness of my beloved grandma throughout the decades. Always watchful and guarding to ensure that I am born into a family with great purpose and morals.

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Aspirational Metamorphosis, Digital Illustration, 841 x 1189 mm

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Aspirational Metamorphosis, Digital Illustration, 841 x 1189 mm

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Commemoration, Photography, digital illustration, 1189 x 841 mm

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Commemoration, Photography, digital illustration, 1189 x 841 mm

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This work celebrates the acceptance of one’s body amidst a generation of judgement. With the power of social media, it's inevitable to compare one’s self with flawless models. Unfortunately the strict nature of the Khmer society, and the concept of fashion and body vulnerability continues to also be a hardship. ‘Commemoration’ juxtaposes what's expected of me but also dismisses it and instead  embraces self love. One’s body and choice of clothing should not be defined by anyone but yourself.

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Blurred Lines, Digital Photography and digital manipulation via ProCreate, (50 x 30 cms) x 3. 

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Blurred Lines, Digital Photography and digital manipulation via ProCreate, (50 x 30 cms) x 3. 

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Inspired by a work from Carlos Villa from The Singapore Biennale, the intricate Cambodian patterns inscribed onto her face symbolise the love and hate that she feels for this country. Mostly how the Khmer Rouge deeply affected her childhood and impacted her life. The geometric lines encage her and imprison her, implying the post traumatic stress suffered, The portrait posture replicates that of a war prisoner photos during the Khmer Rouge. Her sullen eyes convey emotions from her unspoken past. (499)

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Backwards in Time, Mix media, watercolor ink, lino print, soft pastel, acrylic, and collage, 97.5 x 30 cms

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Backwards in Time, Mix media, watercolor ink, lino print, soft pastel, acrylic, and collage, 97.5 x 30 cms

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In 2020, Cambodia, there was a law that was to be passed preventing women from exposing their shoulders, knees and too much skin in general. I thought this proposed law was ridiculous. Reflecting back I thought of the revered Apsara women meticulously carved into the walls of the iconic and majestic Angkor Wat. They have exposed breasts, midriffs, and shoulders!  This piece acts as a timeline, proving that being a women in this country subjects us to so much scrutiny and unnecessary judgement. (498)

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Monotony, Mix Media Collage (acrylic, watercolor, glue) 61cm high x 150cm long

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Monotony, Mix Media Collage (acrylic, watercolor, glue) 61cm high x 150cm long

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Cambodia’s corrupt and sometimes tragic society is not destroyed. It only serves as a reminder to reinforce us to fight against this damned legacy. The shift of soft to dark emphasizes how sustained power and status has conquered the new generation. The hated figures from the Pol Pot regime symbolizes how government oriented families push the motifs of political concerns amongst their children and dictate our belief system. The red circle depicts a history of never ending cycles of corruption.

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Hidden, Lino printing on paper and mounted onto high density foam, 62 x 21.5 cms

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Hidden, Lino printing on paper and mounted onto high density foam, 62 x 21.5 cms

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A visual depiction of the disparity of genders and power in Cambodian society. The traditional carved details of the masks represent the traditional sexist mentality where men are given more power. The larger stature of men symbolize how they are recognised for every effort, but it’s not the same for women. The smaller lino prints are women, they are darker to emphasize how they are stepped on and over shadowed. The use of repetition implies history and that nothing has changed over time. (493)

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Lost in Insanity, Mixed Media (acrylic, watercolor, putty, charcoal pen) 61cm high x 273cm long 

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Lost in Insanity, Mixed Media (acrylic, watercolor, putty, charcoal pen) 61cm high x 273cm long 

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Depicting my naked thoughts and emotions, this work references how my freedom was consumed by the pandemic. The shift from regular life to quarantine life became surreal. Portraying me from sane to insane, I painted in an Expressionist manner my loneliness, anger and confusion. The Francis Bacon inspired white smudges cages my frustration. The bleeding and bruised clown like figure is painted to symbolize how my mind was completely consumed and transformed into a fearsome creature.

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Despising You, Oil Pastel, 61cm high x 47cm long 

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Despising You, Oil Pastel, 61cm high x 47cm long 

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Purely expressing hate, I’ve decided to narrate my abhorrent emotions towards love. This portrait piece acts as a distorted reflection of myself, to remind me that love is a destructive weakness. The figure is  eerie and zombie-like to symbolize the feeling of being disgusted by the person who’s scared my heart. The uneven, rough and gooey textures within the entire piece portrays the marks left behind when he left. My intention is to display how my decaying flesh is punctuated by this person.

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A Web of Perfection, Digital illustration via Procreate, 60 x 40 cms

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A Web of Perfection, Digital illustration via Procreate, 60 x 40 cms

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The unrealistic expectations set for Cambodian women are utterly unattainable. Every facet of her is scrutinized. The spider legs coming from behind her back represents strength but the webs encasing her, symbolise all the hard work that society fails to recognise, trapped in this endless cycle of expectation. The cradled baby is the focal point, thus, considered her main purpose. She is faceless because she represents the countless number of women in this country that are treated the same way. (499)

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Civilians of Hate, Digital Manipulation on Photography 61cm high x 47cm long 

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Civilians of Hate, Digital Manipulation on Photography 61cm high x 47cm long 

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Reality is not always a utopian vision of the world we reside. Truth fuels the public and the media exposes vitriol of judgement and cruelty. Admisdt angry haters, racial discrimination of Asians has resulted in an endless one-sided bloodbath. The red lines and smudges represent our need to protect ourselves because nowhere is safe. News articles evidence the accusation of Asians creating the virus. Leaving an unanswered question of prejudice for being punished just because of our race.

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Soul Searching, Plaster, String and Yarn, 74cm x 74cm 

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Soul Searching, Plaster, String and Yarn, 74cm x 74cm 

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Inspired by Chiharu Shiota “Me Somewhere Else” this installation depicts my upbringing and desire for personal growth. Solely using red yarn to symbolize the panic inside my bloodstream. The plaster feet and legs of mine symbolises how I continued to search for grounding and happiness. This piece expresses the most painful stage of my life, a time when I was mentally drained from suffering. Moreso acted as a way for me to reflect back on who I was, promising to never let agony affect me again.

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Perfect Manipulation,  cardboard, hot glue, acrylic paint, putty, soft pastel, 180 x 70 in cms

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Perfect Manipulation,  cardboard, hot glue, acrylic paint, putty, soft pastel, 180 x 70 in cms

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A perfect woman is non-existent, however the old traditional judgement towards women's bodies stays the same in Cambodia; hence the bronze and gold rusty color all over the limbs. With moveable limbs, this interaction aims to make the audience aware they have that power to change society standard, if fought for. The crown represents old traditional culture of oppressing women. Scars all over the limbs implies imperfection in society standards. (448)

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Title: Venus Locked Away Medium: PhotographySize: 61cm x 47cm

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Title: Venus Locked Away Medium: PhotographySize: 61cm x 47cm

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Through her eyes you see a glimpse of courage as she protests against her country for women to be equally respected. This black and white photograph expresses how female Cambodian’s remain behind the shadows of men. Dominance is displayed within the facial expression of the model and the background is blurred to represent how women are capable to hold control. The center focus of this piece is the eyes as they narrate the story of breaking free from all the captivity endured.

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Beauty of Respect, Watercolor, pen, color tissue paper, cardboard, ink, Digital illustration, 30 x 48 cms 

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Beauty of Respect, Watercolor, pen, color tissue paper, cardboard, ink, Digital illustration, 30 x 48 cms 

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Respect of our culture and tradition is crucial and ingrained in us in Cambodia. The red line symbolises good luck. The naga statue towering over the land shows how many Cambodian have spiritual beliefs. The monk represents where we place our respect the most, but also who serves as a barrier that connects us with the living and dead. The bright colored shapes with thin lines of respect in Cambodia isn’t just a belief, but also how we live our lives, treat others and ourselves. (482)

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Gotham City, Printmaking & Mixed Media over Oil Pastel 61cm high x 150cm long 

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Gotham City, Printmaking & Mixed Media over Oil Pastel 61cm high x 150cm long 

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Through complex layers that unfold the dark truth behind Cambodia’s corrupt society, the city I call “home” is falling apart. The two towers seen behind the stencil diamond print portrays the city’s development as the exposure of flaunting wealth. People emphasize the value of money for selfish reasons and forget what is more important in their lives as they continue with luxury. Therefore, the burning red flames represent the screams of humanity as the city begins to defy its act of self-destruction.

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This art piece captures the downfall of Cambodia’s Golden Age, in which the successful Coup D’etat led by Lon Nol forced King Sihanouk into exile. Lon Nol decided to join forces with the US troops during the Vietnam War, leading to chaos, terror and loss of life. This  chaos led to the loss of Cambodia’s well defined music pop culture and was the beginning of much of the trouble we faced. This piece captures the negative side of power that one individual can have over the future of a country.

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‘Bloom’, ink, acrylic, wall-putty and kerosine on canvas, 130x90cm 

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‘Bloom’, ink, acrylic, wall-putty and kerosine on canvas, 130x90cm 

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‘Bloom’ captures the modernity of being a woman in the eyes of traditions in my culture. Being seen as different and influenced, it is hard to be seen for who you are, especially when it comes to family. ‘Bloom’, created through subtle symbolism and its’ burnt effects shows the strength and unwilting to traditional standards of what a woman should be. Bloom breaks through those barriers through its exceptionally unique lines, untouched by the persistent fires.

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American Teen, Studio Digital Photography, (55cm w x 70cm h)

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American Teen, Studio Digital Photography, (55cm w x 70cm h)

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The split in the face shows the disconnect I feel from my cultural heritage. Being a third-culture kid often feels like I can’t relate to my friends and family in the USA. Via abstraction and soft diffused lighting, I aim to depict how I am an outsider looking in, at the American teen stereotype. The lighting subtly references patriotism, whereas the solemn expression demonstrates my dishearten towards not experiencing the same milestones as the average American teenager.

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They’re In There, Ceramic and glaze bust with wire and expandable foam with spray paint, (30cm w x 45cm h)

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They’re In There, Ceramic and glaze bust with wire and expandable foam with spray paint, (30cm w x 45cm h)

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Mental illness is disregarded as a form of human suffering in many cultures and religions. It is intangible, you can’t see the anguish. Developing a semi-realistic figurative form depicts the unpredictability and invisibility of mental illness. Deep blue/black hues express abstract connotations of mental illness; the expandable foam is a grotesque extension of the individual, highlighting the insufferable pain experienced. Chains underneath are an impression of the stereotype of mental illness.

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A Divided Society, Mixed Media-watercolour, ink, graphite, pencil, gold leaf, compressed charcoal, and wall putty on paper.  (90cm w x 65 cm h)

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A Divided Society, Mixed Media-watercolour, ink, graphite, pencil, gold leaf, compressed charcoal, and wall putty on paper.  (90cm w x 65 cm h)

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Moving to Cambodia opened my eyes to class division and systemic corruption. The curvilinear sweeping line references the recurring nature of this issue. One thing that brings Cambodia together, despite social class, is the strength of Buddhism (seen as the weaving vine). A Khmer school girl I saw in passing is the focal point, symbolising the tenacity of the lower class through a black smudged tone. Gold leaf and lotus are symbolic of Cambodia, representing literal wealth in the upper class.

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A Child’s Suffering, Acrylic paint, flour and putty, oil pastel on Paper, (38 w x 60 cm h (x four), five-piece series))

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A Child’s Suffering, Acrylic paint, flour and putty, oil pastel on Paper, (38 w x 60 cm h (x four), five-piece series))

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Inspired by Ben Quilty’s ability to visually capture human suffering in his “After Afghanistan” series, I aimed to show the long term effects of a child suffering as a child, later into life. Smudging, smearing and black background reference the timeline of suffering and neglect; Children have no say in being born into a life of suffering. A quadriptych acts as a timeline, the playful colours decrease and the distortion and abstraction increase as the figure ages- reflecting societies disregard.

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People Once Forgotten, Lino-Printing on paper (130cm w x 130cm h)

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People Once Forgotten, Lino-Printing on paper (130cm w x 130cm h)

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Inspired by a “wanted poster”, this piece is a tribute to sex trafficked victims in Cambodia. The repetition of the same young woman’s face is ironic, as it emphasises her desperation to be found. The fine flowing lines seen in the face reference barcodes, she is merely a statistic. I hope to bring greater attention to this issue proving that these victims are not forgotten. Her face is surrounded by black, shrouded by the hidden and concealed forces behind this hideous and heinous operation.

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The Sex Trafficked, Monoprinted lingerie on paper, Ink, wall putty, charcoal and gold leaf on paper. (45cm w x 90cm h (x six ), Six-piece series)

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The Sex Trafficked, Monoprinted lingerie on paper, Ink, wall putty, charcoal and gold leaf on paper. (45cm w x 90cm h (x six ), Six-piece series)

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Sex trafficking is rife in Cambodia. The repeated lingerie icon shows how a single girl is used repetitively, her innocence rapidly deteriorating as she is handed off to the next violator. Juxtaposing themes of fragility and brutality depicts the horrors of sexual abuse- where many people turn a blind eye. Red represents fear and trauma felt, splattering sweeping motion of putty portrays this cyclical nature of this issue. This piece was made, intended to shock a conservative Cambodia.

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Nostalgia, Digital Photo on canvas, with thread embroidery.(30cm w x 42cm h )

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Nostalgia, Digital Photo on canvas, with thread embroidery.(30cm w x 42cm h )

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Nearing graduation, I’ve been reflecting on past memories and decided growing up is scary. I feel I am saying goodbye to my childhood! Nostalgia is both beautiful, yet sad. Using a personal photograph, I portray the importance of memory. Concealing parts of the composition reflects how youth and innocence fade with time, distorting the features. The quilt-like stitches reference my culture and past, obscuring the image of me as a child. The context of the memory is lost as details are concealed.

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‘Writings on the Wall’, ink, acrylic on fabric, 300x100cm 

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‘Writings on the Wall’, ink, acrylic on fabric, 300x100cm 

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Inspired by the long history of Chinese literacy heritage, this piece aims to bring tribute to one of the oldest and most complicated and culturally rich languages in the world. With the gradual changes from oriental bone script, seal script, traditional to simplified, ‘Writings on the Wall’ captures the essence of appreciation for my cultural heritage and I am proud to say that my language has come so far, though I may not be able to understand, I look at Chinese characters admirably, like art.

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The Motherly Touch, Canvas, Acrylic Paint, Soft Pastels, (60cm w x 90cm h)

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The Motherly Touch, Canvas, Acrylic Paint, Soft Pastels, (60cm w x 90cm h)

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Who am I as a daughter? Living alone with my Mom, I ask myself this as she’s made many sacrifices to benefit me. Abstract line depicts the complexity of sacrifices; warm colours projecting comfort and nurture. The geometrical form shows the protective stance of my mother, acting as a tribute to her protection and safety. Comforted in the outline of the figure, the figures portray the true nature of the dependence I have for my mother. Her large scale represents her worth and importance to me.

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‘Sticks and Stones’, printmaking ink on paper, 55x35cm (x4) 

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‘Sticks and Stones’, printmaking ink on paper, 55x35cm (x4) 

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Focusing on reality and fantasy, this piece was heavily inspired by Disney. Watching fairytales and seeing perfect endings since childhood, many of us believed in those stories. Gradually, as we grow up, our fantasies turn to dust, shown by the seemingly unknown of the backgrounds. The butterfly is a subtle symbol of transformation and reincarnation, representing our conscience as we grow up and head into the real world.

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‘Permanent’, printmaking ink on paper, 60x25cm (x4) 

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‘Permanent’, printmaking ink on paper, 60x25cm (x4) 

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This piece tributes to tattoos, a form of body art that has always been disregarded in Chinese and many other Asian cultures. The Sak Yant is a symbol for many things, luck, prosperity, love, safety and health. The papers diminish slowly throughout the artwork, symbolizing that the Asian culture has started to look more optimistically at body art over the past few years of modernity. Having tattoos myself, it is not accepted by my grandparents, however is accepted much more by my parents and loved by peers, shows the gradual acceptance of tattoos in Asian culture.

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‘Perfection’, ceramics and white cement, 15x15cm2

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‘Perfection’, ceramics and white cement, 15x15cm2

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This sculpture piece represents the image of my country. The perfect square shows how China wants the country to look ‘perfect’ in the eyes of the world and its own society. They censor things and limit social media interaction, suppressing society. The broken ceramics that make up the square represents the brokenness of the society, symbolizing how China has taken centuries of brokenness to make it ‘whole’.

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‘Wild Spirit’, traditional ink on canvas, 120x80 cm 

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‘Wild Spirit’, traditional ink on canvas, 120x80 cm 

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This piece is created as a tribute to my late grandmother. The two horses symbolizes her and i, our chinese zodiac sign is a horse, and in traditions, it is believed that family members with the same zodiac sign will always share a bond. Even though she has passed , the infinity knot is a symbolic representation of our forever holding bond. Painted in a traditional Chinese style, this piece is a homage to her and my love for her.

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“Homage to home”, acrylic, spray paint, kerosine on canvas, 200x100cm 

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“Homage to home”, acrylic, spray paint, kerosine on canvas, 200x100cm 

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This large scale piece is created to represent both literally and figuratively the places I call home. Growing up internationally, the lines within the heart shape represent literal maps of Eindhoven and Phnom Penh. The birds are silhouettes of cranes, the traditional bird of China, representing my heritage but not necessarily my home. While the kerosine burns looks like wind, it symbolizes the many obstacles I have faced to become the person I am today. Many traditional family members in China do not like the fact that I am so westernized and different.

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Nostalgia / Watercolor, oil pastel, newspaper, marker, charcoal pencil and pen / 40.5 cm x 39.5 cm x 2

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Nostalgia / Watercolor, oil pastel, newspaper, marker, charcoal pencil and pen / 40.5 cm x 39.5 cm x 2

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Reminiscing on the past can often bring up emotions of joy, embarrassment, or sadness all at once. Phnom Penh is my home, but it is also rapidly changing. I tried to convey feelings of nostalgia and how I remember my city as a child. The blues and reds encapsulate the mixed emotions we feel reminiscing, whilst childhood creativity is shown through free flowing lines. Contrasted by static, stiff and systematic lines of the present with a face of an uncertain future looking back at his past self.  (501)

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This is a digital exhibition highlighting what my exhibition would have looked like if we had it in person.

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A homage to my Grandma, a widow who raised 12 children, and 5 grandchildren throughout her lifetime. She’s the backbone of our family, an individual who gives more than she receives. Her complete spiritual devotion to Buddhism is something that offers her a sense of hope and prosperity. My aim for this piece is to be able to capture, through visual symbolism, my grandma’s spiritual connection to Buddha, a philosophy that motivates my grandma to keep living. (462)

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Sadly we didn't get to have a real face t6o face exhibition due to covid, this is what my exhibition would have looked like.

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This piece is a portrayal of the bridge between my two cultures, Japanese and Khmer. It shows how the uncertainty in my culture, portrayed by the figures of myself facing each other. Each representing one nation. The seeping through of the Sakura leaves and the Angkor Carvings show shared culture, how it can be formed as one.

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Sentimental / Lino, block print, and gold leaf / 29.4 cm x 18.9 cm

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Sentimental / Lino, block print, and gold leaf / 29.4 cm x 18.9 cm

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Inspired by “The Great Wave off Kanagawa'' my work serves as an appropriation.  My main narrative is how pollution is the bi-product of our involuntary need to consume. How our careless actions are negatively affecting the natural landscape our ancestors fought to preserve. The soda can, embodies our urbanized and consumer based lifestyle. Whilst the wave signifies the obstacles our ancestors had to overcome to ensure a prosperous future for the next generation. (467)

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"Not So Mother Nature", Magazine, Tissue Paper, Water Color, Copic Markers, Gold Paper, Crayon, Charcoal on paper (610 x 455MM)

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"Not So Mother Nature", Magazine, Tissue Paper, Water Color, Copic Markers, Gold Paper, Crayon, Charcoal on paper (610 x 455MM)

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This art piece was created with various mediums to express the neglect of nature in Cambodia, in contrast to the superiority of mass urban development. This piece captures the disappearance of nature in our urban environment, portrayed by the positioning of the vines and buildings, representing Cambodia through the Angkor patterns. The collage acts as a portrayal of  messiness and constriction, to represent a sense of claustrophobia being in a city surrounded by buildings and pollution.

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ប្រពៃណីខ្មែរ (Khmer Culture), Mixed media on paper, watercolour, acrylic paint, thin paint, conte crayon, charcoal pencil, oil pastel, pastel, gold flakes, 102cm x 26cm

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ប្រពៃណីខ្មែរ (Khmer Culture), Mixed media on paper, watercolour, acrylic paint, thin paint, conte crayon, charcoal pencil, oil pastel, pastel, gold flakes, 102cm x 26cm

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This piece captures the journey of discovering how much I value tradition in my culture. It is a homage to my beloved Cambodia. I love that apsara dancing, Buddhist rituals, and Buddhist gods can still be seen in modern day Cambodia. Through the use of mixed media on paper with subtle layering I wanted to adequately capture the traditional beauty of my culture. To be viewed from left to right, this timeline proves that these age old traditions still exist today.

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"Expectations", Copic Markers and Watercolor (610x455MM)

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"Expectations", Copic Markers and Watercolor (610x455MM)

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This piece represents the expectations I face being in an Asian household. As my siblings both went to the U.K to study business and medicine, shown through symbols of books and syringes, I am expected to do the same. The Irrawaddy dolphin is a rare species, which I feel close to as I feel the same sense of uniqueness. Instead of being a businessman or a doctor, I want to pursue my dream of being a football player, portrayed by the classic football pattern on the dolphin.

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Teapot / Acrylic paint, oil paint, charcoal pencil, oil pastel, and digital art / 29 cm x 40 cm 

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Teapot / Acrylic paint, oil paint, charcoal pencil, oil pastel, and digital art / 29 cm x 40 cm 

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This piece criticizes Cambodian societies' superficial projection of wealth, or more specifically the desire to fabricate wealth as a means of social status. The golden teapot represents a fabrication of wealth,  the gold is rusted and looks fake. The objects beneath are painted with colorful bright shades representing a need to acquire. The purpose of this artwork challenges how we desire unnecessary material possessions, which can blind us from appreciating the simpler things in life. (492)

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"Reflection:, Copic Markers and Watercolor (610x455MM)

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"Reflection:, Copic Markers and Watercolor (610x455MM)

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This piece is a reflection of who I am, and the memories of the hobbies that I was unable to do because of the coronavirus pandemic. These memories are portrayed through the symbols exerted from the mirror frame, with a dark figure inside of the mirror, representing myself sealed inside, prohibiting me from taking part in these activities. The bee inside the frame represents rebirth through the pollination of a seed, as I hope this dark chapter in my life will soon come to an end.

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Body Image, Mixed media on paper, charcoal, oil pastel, acrylic, water colour, ink, gold paint, dry pastel, 183cm x 46cm

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Body Image, Mixed media on paper, charcoal, oil pastel, acrylic, water colour, ink, gold paint, dry pastel, 183cm x 46cm

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Cambodia is very traditional in their attitude towards the way that bodies should look. This piece reflects upon the judgement I have endured about my own body. I focused on how others have criticized and ridiculed my appearance. The use of bright and contrasting colours were ironic, as these jokes were damaging. Traditional Khmer Apsaras and the word ‘yak’ in Khmer reflect the outdated and traditional mindset in this country. The curvaceous form and flowing line was inspired by Brett Whiteley.

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"Moving Forward", Digital Art (594x420MM)

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"Moving Forward", Digital Art (594x420MM)

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‘Moving Forward’ is a piece that portrays how the coronavirus pandemic restricted me from my passion for football. As I prepare myself to play abroad at a higher level, I’ve been restricted from further development. The repetition of lines are represented as ropes, a metaphor for covid, to keep me down, complemented by my fallen silhouette. The infinite sign signifies that I will keep playing no matter what, with youth and present figures of me standing tall against my shadowed silhouette.

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Rebirth / Digital artwork / 34.4 cm x 39.6 cm

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Rebirth / Digital artwork / 34.4 cm x 39.6 cm

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Inspired by Dutch Golden Age painting and objects as metaphor, my work reflects life and death as learned from Cambodian folklore. Embodying the earthly struggles and rewards we as humans have or will eventually endure, the dark tonality of the background (death) is contrasted by the light tonality of the foreground (life). Laden with metaphor, figs represent humans, we hold internal beauty  on the outside, but as the flesh on the inside is concealed, it implies that we could be corrupt or bad. (499)

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Title: Adaptation Dimension 110x80cmMedia: Watercolor, Copic Markers, Ink

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Title: Adaptation Dimension 110x80cmMedia: Watercolor, Copic Markers, Ink

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Japanese koi have the ability to adapt to different waters. The broken bowl represents how my adaptation is being exposed to the outside world. Leaking my knowledge of my surroundings to something outside I don’t know. The different worlds inside the bowls are what I had come adapted to in my hometown. Rivers, farms, Temples, dirty waters are what I had only known when I lived in the countryside for 7 years. Surprisingly able to adapt and survive in such an environment. Space effect shows limited imagination adapted in the bowl compared to the outside.

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Lost, Accordion book, watercolour, pen, pencil, acrylic, medium, water soluble pencil, 98.5cm x 15cm

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Lost, Accordion book, watercolour, pen, pencil, acrylic, medium, water soluble pencil, 98.5cm x 15cm

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This work captures the anxiety and uncertainty of having to decide my future from a young age. Unsure of which path to choose, whilst also appeasing opinionated adults can be overwhelming. Visually inspired by Thomas Cian’s ‘The Journey’, especially the use of rhythmic lines and interwoven space. Anchored by predators at both ends this symbolizes adults desire to rescue me but also coerce me into decisions I am not ready for. The goats represent that I follow the leader, and need to tread my own path.

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Thoughts, Styrofoam, ink, alcohol, acrylic paint wire, 100cm x 88cm x 55cm deep

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Thoughts, Styrofoam, ink, alcohol, acrylic paint wire, 100cm x 88cm x 55cm deep

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Positive thinking and psychology is so interrelated. Inspired by how the brain affects our mindset, I created a connection between this idea and the negative mindset of those around me. Emphasizing the idea that these thoughts are like a cycle that has no ending. The yellow ink portrays my positive mindset that has yet to be affected by the dark negative thoughts infiltrated by others. The bold vertical stripes overlapping each shape in this sculpture portrays the rapid change my mindset can take.

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Loss of Motivation, High flow acrylic paint, and pen on canvas, 1.2m x 32cm

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Loss of Motivation, High flow acrylic paint, and pen on canvas, 1.2m x 32cm

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The growing demands of the IB have engendered a loss of motivation in me. Causing me to feel exhausted and detached. This composition captures the frustration of what I hope to accomplish (as shown through the use of keys) but juxtaposed against a palette of flowing, often dull colours. The swirly long lines connecting each key overlapping with one another. I could live a life of prosperity and also the fear that I won't be able to achieve what I had hoped to.

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Title: Fit inDimension 50 x 30 cmMedia: Charcoal, Red string

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Title: Fit inDimension 50 x 30 cmMedia: Charcoal, Red string

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Different gears and cogs trying to fit in with each other, rusty as they dont function. The figure has no face as it represents my confused identity. The 3 animals are symbols of Cambodia, Thailand, and the Philippines which are places I tried to fit in, without success. Red strings represent faith, wrapped around the figure’s neck to show my faith that binds with these 3 places that shaped me into this unknown person. Gears represent growth and functionality but they are damaged and rendered useless.

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Worries, Acrylic, ink, string, yarn, gold flakes on canvas, 77.5cm x 65cm

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Worries, Acrylic, ink, string, yarn, gold flakes on canvas, 77.5cm x 65cm

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Anxiety builds within me. Comments and judgement made by others makes me overthink and worry about all facets of my life. All of these thoughts overlap, and intertwine as shown by the use of strings on top of the light and calm of my peaceful mind. With no definitive focal point I intended to create an unsettling feeling in the work. A purely Expressionist work, I used texture, tone, and placement of colour to translate my doubtful and anxious thoughts of late.

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Title: What you areDimension :2550 × 3300 pixelsMedia: Digital Art

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Title: What you areDimension :2550 × 3300 pixelsMedia: Digital Art

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I reflect on the narrow-minded educational system I experienced in my Phillipines school, This Catholic education forced me to be the person they want you to be, and not what you want to be. The fox kitsune is dutiful and subservient, a product of their creation. The cat represents the current me, curious but never acting upon. The tiger represents a want to be brave and courageous. The red cross symbolises the restriction that this religion had on my lifestyle. A power struggle to no avail. 497

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Grandma, Drypoint Etching on paper, 18cm x 23cm (x3)

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Grandma, Drypoint Etching on paper, 18cm x 23cm (x3)

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My Grandmother, my icon, my true love. This etching series is a homage to her.  Her dreams and desires in life, but the inability to experience them as she is restrained by the responsibility of having to take care of the house. A repetitive cycle of duty. The objects in the foreground act as a metaphor and barrier to the majestic view in the background. The antique tones of brown and black reflect a culture and history of gender inequality in this country.

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Title: JourneyDimension : 60 x 32 cmMedia: Water Color, Copic markers, Ink

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Title: JourneyDimension : 60 x 32 cmMedia: Water Color, Copic markers, Ink

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Based on my family journey, trying to find the light behind the storm. We experienced some serious financial hardship in recent years. The 4 cranes represent my family members going on this tough journey/storm  in life trying to find the light. The tree my life through this journey, as it can still grow, but not its ideal environment. The stained glass windows reference religion and want to find solice in it, but not without doubt and scepticism when times are tough we only had each other. 496

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The Effects of Consumption. Towels soaked with cement, spray paint, enamel and acrylic paint, cane, string, plastic debris, cloth, plastic foam, on a plinth. Variable measurements

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The Effects of Consumption. Towels soaked with cement, spray paint, enamel and acrylic paint, cane, string, plastic debris, cloth, plastic foam, on a plinth. Variable measurements

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This is You and a criticism on, and a reflection of your need to consume. The blood-red implies desire for what we do not need, the violent everlasting crusade for money and profit, how it disfigures you and the life you could have led if only we weren’t driven by the fictional creation of monetary value. You, engulfed by unnecessary detritus which you have been manipulated into buying thanks to the ingenuity of advertising.

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Another Day / Oil pastel, modroc, acrylic, and black marker / 44.5 cm x 58.5 cm

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Another Day / Oil pastel, modroc, acrylic, and black marker / 44.5 cm x 58.5 cm

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Talking to a friend that suffers from social anxiety, I was able to understand the effects it has on their day to day living. The circular shape of the composition represents a mirror, reflecting the idea that mental illness doesn't discriminate. The mask hides the individuals face, alluding to how people often mask their true emotions, due to fear of judgement. The drooping faces haunting the individual symbolises  voices of doubt, regret, embarrassment, guilt or sadness. (478)

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Our Stained History, Ink, Watercolour, charcoal, water soluble graphite pencil, acrylic paint, gold leaf, collage fabric and cardboard on paper, 150cm x 18cm

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Our Stained History, Ink, Watercolour, charcoal, water soluble graphite pencil, acrylic paint, gold leaf, collage fabric and cardboard on paper, 150cm x 18cm

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There is no denying that the devastation caused by the horrific Pol Pot Regime changed the fabric of Cambodian culture forever. In this work I pay  tribute to the Golden Age of the 1960’s and 70’s on the left. A time when the iconic Arts in Cambodia was thriving. The dominant black marking implies the Khmer Rouge regime of 75 to 79 and the aftermath of loss and tragedy that occurred after it ended. The youth of Cambodia is emerging and the long lost artistic confidence is fortunately coming back.

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Consequence of Construction watercolour, watercolour paper, acrylic, cardboard, paper straws and tissue paper on heavy card.  52x52x75cm

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Consequence of Construction watercolour, watercolour paper, acrylic, cardboard, paper straws and tissue paper on heavy card.  52x52x75cm

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Representing the intersections of multiple sources of pollution in a developing city. Phnom Penh is undertaking such rapid growth. The bottom layer represents litter and garbage with a messy, darker, and layered look. The middle layer represents the roads and movement through triangles and layering. Finally, the top layer represents endless construction through geometric shapes, parallel and perpendicular lines, and repetition patterns. The tone remains neutral to mirror that of a construction site.

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Values Change.     Photography, post-production digital manipulation, card.     A2 

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Values Change.     Photography, post-production digital manipulation, card.     A2 

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Although aesthetic value and perspectives on beauty change over time, our core needs as human beings remain constant. We still have the same functions and essentially the same thought processes as we did 20,000 years ago. Only aided by political correctness and the advantage of our ever-growing expanse of knowledge. Isn’t it curious then, that what we value, prioritise, and look for in an ideal changes almost annually? This piece merges time and attempts to capture beauty ideals over the ages.

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Obligation / Digital Art /  92.6 cm x 66 cm

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Obligation / Digital Art /  92.6 cm x 66 cm

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For this piece I wanted to focus on a particular issue that I feel affects most Cambodian youths: the pressure of obligation. To communicate this theme I used a mixture of visual symbolism and color, through an organic form. The fish (sturgeon) represents the product of obligations, how some feel like their existence is to acquire materialistic rewards. There’s nothing wrong with wanting a better future, but if you’re not happy getting to that goal, your efforts will feel empty. (484)

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The Only Constant.              Wire, LED light, fabric, acrylic paint.    120cm x 50cm x 50cm

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The Only Constant.              Wire, LED light, fabric, acrylic paint.    120cm x 50cm x 50cm

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Throughout our life, it occurred to me, you are the only thing you can truly rely on.  Everything else is free to come and go as it pleases. You are the light finding your path and everything else is impermanent coming in and out of contact with you. The only thing you have control over is your response to external stimuli - everything else you can only try in vain to change. Here I use light and wire and fabric to construct form and construct this narrative.

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Individualism of Belief Photography, digital manipulation in photoshop.       (84cm x60cm x3)

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Individualism of Belief Photography, digital manipulation in photoshop.       (84cm x60cm x3)

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This work represents the individualism of belief, and how each member in a small family can have varying beliefs. I use a spiral to represent the ever-evolving and goring nature of humans and the opacity represents the balance of light and dark in the world. In the middle piece, I use the flower of life pattern to symbolise universal oneness and connection. I use the hexagons to represent bees which in turn represent nature, her face is clear of the pattern to symbolise clarity, as it is with nature where she feels most connected to the divine.

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Pleasure                         gouache and acrylic paint on canvas with block printing. 100cm x 75cm  

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Pleasure                         gouache and acrylic paint on canvas with block printing. 100cm x 75cm  

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It seems that masturbation has been completely normalised for males, and yet when females venture to the topic, even amongst themselves it is heavily shied away from and continues to be a taboo topic. The focal point, the grapefruit, represents the great secret that is female masturbation. “Phenomenal Woman” by Maya Angelou is printed backwards in the background and used in an ironic manner, to show my uncertainty as to why society feels that female sexual pleasure is deemed such a taboo subject.

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 "I Realized", Video Art, (269MB and 1 minute and 53seconds)

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 "I Realized", Video Art, (269MB and 1 minute and 53seconds)

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A timeline, a comparison between what Cambodia was and what it is now. The obvious repercussions of globalization; I am a product of video game addiction. No longer playing outside, they steered me away from academic success, shown through quick cuts,  implying stress and rapid movement. Realizing the consequences, sadly too late, portrayed through the use of repetition. Yet, I started to see the repercussions, and to get back to what my family and culture value which is striving to be my best.

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"The Moments In Music", acrylic paint, screen printing, (240x80cm)

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"The Moments In Music", acrylic paint, screen printing, (240x80cm)

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This timeline piece portrays the demise of Cambodia's music through globalization. The screen printed Cambodian music icon, Sin Sisamuth is featured to narrate the loss of originality. He was a pioneer in the 60s and 70’s pre Khmer Rouge. The shift in colour and grouping identifies the major eras and the weakening of Cambodian music after the regime. White splashes evokes a reminiscent mood, while illustrating the impact of Western mainstream music. A homage to remembrance and what could have been.

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"A Moment In Culture", Digital Art, (3440x1440 px)

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"A Moment In Culture", Digital Art, (3440x1440 px)

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Going to the pagoda these days feels like something you tick off your to do list, just like going to a supermarket. People visit because they ‘have’ to. The stretched and playful composition captures the devalued motives to visit the pagoda. Towering billboards, undisciplined vehicles and tall buildings portray the development of Cambodia and also the repercussions of globalization impacting the merits of this culture. The orange background (references monks) calls for attention to this issue.

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 "Reflections", Digital Art, (29.7x42cm)

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 "Reflections", Digital Art, (29.7x42cm)

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This digital piece portrays the celebration of cultures around me due to globalization. Buddhism, Cambodia’s main religion, puts great importance into humbleness, illustrated through the monk. He stares into the reflections of those of the same beliefs, only to see differences between him and them. Drawings represent the past, dreamlike and reminiscent, while real photos represent day Cambodia. Yet, the monk is slowly consumed by the celebration of other cultures though wearing designer slides.