Interview with Cambodian Artist Chea Sereyroth

Social-minded practitioner from Battambang
By Ho See Wah

Chea Sereyroth. Image courtesy of Sa Sa Art Projects.

Chea Sereyroth (b. 1990) is a young Camobodian contemporary artist who graduated from Phare Ponleu Selpak, Battambang, a non-profit art school heavily involved with social issues in the local community. He is also a graphic designer at Phare’s Sonleuk Thmey Studio and a teacher at Phare’s Visual and Applied Art School.

In his last solo exhibition, ‘Mohuntakray’ (‘Disaster’) at Rommet Gallery in Phnom Penh in 2014, ten paintings depicting scenes from disasters, such as a woman caught in a whirlwind and an atomic bomb-induced mushroom cloud were showcased. Chea intended for his paintings to be a cautionary tale, should his countrymen continually neglect the environment. 

It is apparent that his interest lies within social concerns in his home country, as seen in his current exhibition, ‘Ricefield Mirages’ at Sa Sa Art Projects, Phnom Penh. It was first shown at Sangker Gallery, Battambang from 7 April to 22 June. The show explores the relationship between the urbanised and the rural, and invites us to look at the agricultural community not as an ‘Other’ but in a more intimate and humanised manner. We interview Chea to find more about his latest show, his interest in using media such as mud and sawdust, and his inspirations and hopes for art.

Chea Sereyroth, ‘Workers Harvest Rubbers’, 2019, acrylic, sawdust, mud and soil on braided pandanus leaf mat, 122 x 169cm. Image courtesy of Sa Sa Art Projects.

‘Ricefield Mirages’ focuses on the agricultural community in Cambodia. Can you tell us more about how you grew interested in this community? 
Agriculture is a very important sector in Cambodia. Now, what I see is a lack of communication, and lack of contact and connection among people. Besides, young people are forced to migrate and find work in other countries instead of being a farmer, so as to support their families. Only the older generation is left in their village, which makes it seem as if there is a divide between this community and other groups.

‘Remembering Lost Landscapes’ is a mesmerising work, as with many of your abstract paintings. Could you bring us through how this work came to be, from when you first conceptualised it to the final product? 
In this piece, what we are seeing are my memories. In the past, there was farming activity everywhere: plowing, threshing and the use of traditional tools such as plows, trailers and oxen. Now, none of these visions, not even the cow buffalos, are anywhere in the rice fields. That’s why I started researching and taking photos.

For the painting, I mix mud with glue and place it on a weaved mat canvas with my hands. I like to keep it a little dry. Then, I use acrylic paint mixed with mud to highlight the texture and the unreached portions of the mat. I will rub sawdust on top of it as the glue is drying, and if there is nothing else to add, I finish the process.

Why do you use unconventional materials such as mud and sawdust to create your works?
Before I answer this question, let me bring back the memory of my workshop with Séra Ing and Vann Nath, the artists who led the workshop, ‘The Memory of the Khmer Rouge Regime in Cambodia’ at Bophana Center in 2008. Before that, the content of my work had a lot of rich and bright colours, but the stories I learned about the regime during the workshop stuck with me. I found that using sawdust represented the way I felt and I started to use it from then on.

For my solo show ‘Mohuntakray’ (‘Disaster’), other than sawdust, I started to use mud as well. I wanted to show that something “useless” can actually be valuable and it was also environmentally friendly to use.

Chea Sereyroth, ‘Behind Hunger’, 2019, acrylic, sawdust, mud and soil on braided pandanus leaf mat, 122 x 169cm. Image courtesy of Sa Sa Art Projects.

I note that you graduated from Phare Ponleu Selpak. How does the school fit into the local art scene in Cambodia, and how has attending school there affected your art practice? 
Actually, Phare Ponleu Selapak has many different types of art majors. They have programmes such as circus, dance, music and theatre. They now have a school called Visual and Applied Art School that teaches three classes: graphic design, visual arts and animation.

When I was studying painting, I thought that as long as it was beautiful, it was good. However, when I entered the school, I learned that art is very open. I learned many techniques from my teachers. We also have foreign teachers for various workshops, and these are what has made my practice better.

Chea Sereyroth, 'Ricefield Mirages’', 2019, exhibition installation view. Image courtesy of Sa Sa Art Projects..

What do you think of the Cambodian contemporary art scene? What do you hope for in the future?
I think Cambodian contemporary art is developing, and it is starting to be noticed. There are many Cambodian artists who have exhibited internationally. Art is globalising and we can all learn from one another. I hope that I can continue to produce more works for exhibitions in the future.

Finally, are there any upcoming projects that you’d like to share with us?
My next work will be showing in November. I will be performing with a group of artists at Battambang. It’s called ‘Rice Field Owner’ and I will be using materials like acrylic, sawdust and mud to paint a broken bottle set on a large wooden canvas.


‘Ricefield Mirages’ runs from 20 September to 27 November 2019 at Sa Sa Art Projects.