PanSuriya Art Post


dawei lay at it again
5 July 2011, 09:39
Filed under: exhibit | Tags: ,

When I was young, I lived by a small creek in Dawei. I used to watch small boats paddling across the water. Since those early days, my love for them has grown. Now a days I see boats in the Pegu River near Yuzana City Garden. This is what inspires me to paint.

To ease my mind from the stresses of everyday life, I paint small boats in large spaces. Paddling around the world in such boats, one day my destination will be reached.

ကျွန်တော်ငယ်ငယ်က ထားဝယ်မှာရှိတဲ့​ချောင်းလေးဘေးမှာ နေခဲ့ပါတယ်။ ချောင်းထဲမှာ လှော်ခတ်နေတဲ့​လှေကလေးတွေကို နေ့စဉ်​မြင်တွေ့​နေရပါတယ်။ အဲဒီမှာ​ကတည်းက မသိစိတ်ထဲမှာ​စွဲလန်း​နေခဲ့တာပါ။ ခုနေတဲ့ ဟုဇန​ဥယျဉ်​မြို့တော်​နားမှာ​ရှိတဲ့​ပဲခူး​မြစ်ထဲက လှေတွေကို​​​​မြင်​နေရ​ပြန်တာကလည်း ပန်းချီ​ရေးဆွဲ​ဖြစ်လာဖို့ တွန်းအား​တစ်ခု​ပါပဲ။ နောက်တစ်ခုက နေရာတကာ​တိုင်းမှာ မွန်းကြပ်နေတယ်လို့ ခံစား​မိတာ​ကြောင့် စိတ်ထွက်ပေါက်​အနေနဲ့ space အကျယ်ကြီးထဲမှာ ဆွဲထားတာပါ။ ဒီလှေကလေးကို လှော်ခတ်သွား​နေရင်း တစ်နေ့မှာတော့ ပန်းတိုင်​ရောက်ရမှာ​ဆိုပြီးတော့ပါ။

14 July to 20 July 2011 at Pansodan Gallery, Yangon.

Tel : 09 5130846



encounter kin maung yin

13 July 2011 at the British Council Library in Yangon. (Bring photo ID)

A famous and admired artist in Myanmar will often be known as a ‘master’. The term implies that he or she has achieved much and is revered as a teacher and exemplar of the art. In English at least it also has a hierarchical air about it, a suggestion of status and rigidity, a hint of an old orthodoxy.

In the case of Kin Maung Yin nothing could be further from the truth – he is justly famous for his informality and lack of pretension. His free-thinking and generosity have endeared him to generations of students and collectors alike – he remains at heart a bohemian with little time for the trappings of wealth and fame.

His art mirrors the man. In his abstracts there is a sensual abandon to the pleasure of colour and shape, whilst his landscapes seek the essential form of the world rather than its accumulating details. In landscapes as rich and fecund as Myanmar and with a visual heritage rich in inventive and almost baroque detail Kin Maung Yin pares us back to simplicity and essence. The portraits serve not as mere photographic record, but the capturing in paint of the spirit of the sitter. It was the great founding father of 20th century sculpture, Constantin Brancussi who said that ‘Simplicity is at root complexity.’ This might stand as a useful introduction to the art of Kin Maung Yin; his works are as open and inviting as the man himself.

A little more about Kin Maung Yin from his 2010 exhibit at Pansodan here, and in a Burmese and English blog post here, and his website here.