AsiaLIFE

As the first contemporary Cambodian stone carving exhibition opens, artists and art patrons hope to revive a traditional art form that dates centuries. Words by Nora Lindstrom.

Stone carving is nothing new in Cambodia. The carvings on Angkorian temples clearly show how Khmer artisans for centuries have perfected ways to give form and expression to one of nature’s most common raw materials. Yet while many contemporary Cambodian artists are slowly finding new shapes and symbolism for their work, stone carving has been left behind, with skilled artisans focusing on creating traditional replicas, not individual art.

According to Sasha Constable, a British sculptor who plays an active part in promoting Cambodian contemporary arts, the lack of development needs to be put in context. She notes how the low number of local buyers and collectors of contemporary art in general has translated to limited demand and slow change overall. “It’s a young scene,” she says, but adds that things are now evolving.

As other forms of art develop, stone carving is at a disadvantage given the cost of stone, as well as the amount of time and labour involved making stone sculptures. “Artists end up doing ‘quicker’ things,” Sasha says. This might be about to change.

Supported by Friends of Khmer Culture, a stone carving workshop led by Sasha at the Royal University of Fine Arts (RUFA) will culminate this month in an exhibition of the student’s artwork in stone. “It’s the first exhibition of contemporary Cambodian stone carving,” she says.

The project has a special significance to Sasha. Although she has been involved in supporting and developing the Cambodian arts scene for a decade, the workshop is the first time she, as a trained stone carver, has had a chance to share her passion for stone so directly with Cambodian artists.

She is impressed.

“The artists tackle very interesting issues,” she says. “Gender, freedom of expression, nurturing the young.” In the artists’ studio, she shows a piece by Ouk Chimvichet, which deals with issues of sexual preference, asking why some people are gay and others are not.

Vichet is part of the Krousar Selapak artists’ collective together with his fellow RUFA graduates Ou Vanndy, Chhea Bunna, and Kim Samdy. The carving workshop was the first time they had a chance to work with stone as limited resources at RUFA mean stone carving does not form part of the school’s curriculum.

“Before I started to learn, I thought it would be hard,” Vichet says. “But the stone pushes me to do more.”

With his newly acquired skills, he hopes to continue working with stone in the future. Bunna, whose pieces for the upcoming exhibition among other things deal with man-woman and teacher-student relationships, similarly wants to keep up his stone carving skills. “I want to do something big,” he says. “But we’ll need someone to support us.”

Indeed, stone carving not only takes a long time and involves a big initial outlay, the noise and dust resulting from the activity means it can’t be done just anywhere. “I have no place at home to do stone,” Bunna says. “We really need a studio.”

So far, the artists’ studio in northern Phnom Penh has been largely self-funded, with Sasha lending a helping hand. Part of the proceeds from the upcoming exhibition will also go towards renting the space. Still, funds are limited and the long-term future of the studio remains in question.

The workshop does nevertheless seem to have given a boost to contemporary stone carving in Cambodia. Following the completion of the workshop at RUFA, Sasha plans to donate materials as well as some of the exhibitions’ proceeds to the university’s sculpture department to allow students continue working with stone. There is also talk of adding stone carving to the school’s curriculum.

“Both Vietnam and China have big stone carving scenes,” adds Sasha, suggesting that it is high time Cambodia too gave modern expression to its Angkorian stone carving legacy.

The first contemporary Cambodian stone carving exhibition, entitled In-Form, will be hosted at the Royal University of Fine Arts in Phnom Penh between May 28 and Jun.6, and at Siem Reap’s Hotel de la Paix between Jun.8 and Aug. 1.