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Ta Prohm

The ancient Cambodian temple of Ta Prohm shares a profound symbiotic relationship with giant trees, whose roots cascade down the ornate facades. The temple offers form to the long roots, who in turn give structural support to the temple, which would have otherwise fallen due to the intrusive nature of the roots.

In some ways this relationship reflects Khmer culture, to which the trees have borne witness for many generations. Nearby Angkor Wat is covered with carved stone friezes depicting extensive battle scenes between the Khmers and the Chams some 850 years ago. The destruction is echoed in this last generation when Pol Pot led the Khmer Rouge to cause the death of over 20% of Cambodia's population (according to the Yale Cambodian Genocide Project) with continuing destructive effects of unexploded ordinance (UXO) that litter farmland. Yet Cambodians are survivors, who steadily work to rebuild their lives. It's as if their roots are creeping along societal structures imposed on them. These roots will ultimately become the foundation for future generations.

After visiting the Ankor Wat complex during the millennium, I left both in awe of the magnificent temples as well as with concern for the people. It is with these mixed emotions that I painted the series on Ta Prohm. Blood red crimson spills from the grey stones and fills the atmosphere with an alizerin haze. But what catches the eye is the how the light falls across the massive roots. In a largely dark environ, the highlighted roots emphasize growth.

Ta Prohm & Angkor Wat

Ta Prohm
detail of Ta Prohm, Cambodia
oil on canvas, 6.5

Raising Awareness of UXO

 

During our travels into Ankor Wat, I was increadibly inspired not only by the structures, but also the sculptural works there.

The widespread effects of unexploded ordinance (UXO) was evident in every corner of the country, and increadibly striking. The contrast of these disasterous remains of war, to the spirit of the gentle folk living there inspired this first series of Cambodian paintings.

Based on ancient Khmer sculpture, the figures show resilliance even though their grounds were arrived at through the violence of a shotgun.

In 2001, PeaceTrees Vietnam gave me the honour of exhibiting the series to raise awareness of the continuing struggle in Southeast Asia at their hugely sucsessfull "Humanitarian Journey" fundraiser in Seattle. The next year I showed the work again at a performance by the Nitty Gritty Dirt Band to support the cause.

 

UXO Exhibit


detail of Mahishasura mardini, Cambodia
oil on shotgunned plywood, 9.1

Apsara

The temple walls of Angkor Wat are adorned with voluptuous dancing women who were supposed to keep company to the high priests of Angkor.

This series of drawings and unique lithographs shows the ladies in their current distressed state, yet with determined gazes. The women I found in Cambodia demonstrated this resilliance and determination to not only survive, but figure out a way to build a better life for their children and future generations.

exploration

 

 

 

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