Пътуващи записки / notes of a traveller: Photo essay for Myanmar/Burma

Brief introduction:
Burma, also known as Myanmar, is ruled by a military junta which suppresses almost all dissent and wields absolute power in the face of international condemnation and sanctions.

Politics: Burma has been under military rule since 1962; the regime stifles almost all dissent. The first elections for 20 years were held in November 2010.
Economy: Burma is one of Asia's poorest countries; its economy is riddled with corruption.

Facts:
Official name: Republic of the Union of Myanmar (previously Union of Myanmar; Union of Burma )
Population: 50.5 million (UN, 2010)
Capital: Nay Pyi Taw
Largest city: Rangoon (Yangon)
Major languages: Burmese, indigenous ethnic languages
Major religions: Buddhism, Christianity, Islam

Contemporary artists in Myanmar: Aung Myint, Nay Myo Say, Tin Win, Phyu Mon etc

TIN WIN

Artist Tin Win has recently begun to combine eastern and western artistic influences. Trained in the fine arts at Mandalay State School of Fine Arts, he was influenced by the British watercolorists who helped launch modern painting in Myanmar years ago under British rule. In addition, Tin Win developed a strong interest in the antiquities of his homeland, and has studied them in detail. After years of contemplation, and observations on changes in Myanmar society, the artist created this series of works, entitled "Beyond..."

In a sense, this series of works embodies the sentiments expressed by many progressive people in Myanmar today. This art reflects on the delicate balance of embracing modernity while holding on to cultural traditions. If one views traditions as fixed in time, and modernization as progression, then perhaps the phrase "Beyond" is indicative of a more subtle confluence, or mediation, between these two forces.

"Bringing the traditional and modern together helps me look at the world in a very different way. In bringing these together I don't loose contact with the past. In my works there is, I believe, a universal message. One sees a connection with other ancient cultures. The development of these connections is expressed through universal elements, such as coins, seals, terra-cotta figures and craft works."

Win has a particular interest in the art and culture of the Pyu period (2nd/3rd to 8th century AD) and the Pagan period (particularly the 11th to 13th centuries AD.) From these he has drawn such symbols as Ganesh, nadi Bull, silver coins, Kinnari, Vishnu, Lakshmi, and Buddha heads as well as sitting Buddhas and the use of gold leaf, which is common in traditional Myanmar religious and temple architecture.

The geometric background surfaces function like color fields. Filled with muted colors they rest in harmony and reflect those colors frequently found in traditional Myanmar crafts, especially lacquerware. The abstract surface texture recalls the tangled webs of Jackson Pollock or the gestural expressions found in traditional Chinese ink paintings. Be it subject matter, context, or technique, the juxtaposition of east and west exists in totality within Win's works.

AUNG MYINT

"The art scene here has certainly changed. Myanmar has opened up to the world compared to only 12 years ago. In fields such as communications and technology, and in business, the younger generation is moving ahead with blessing of their old mentors. Globalization is catching up with us, which means we must be in step, or at least not far behind."

"Today I look at social, political and economic issues, not only for my country but for all countries. I would like to express their sufferings and feelings. So my subjects are simple but sometimes my works are confused. It depends upon conditions."

Moving in a different direction, the "Mother & Child" series are an exercise in planned spontaneity. A meditative exercise, Myint conceived of the drawings in his head, yet carried them out spontaneously with one continues line. The goal was to move his hand in a relaxed and free manner, to achieve a singular, flowing form. The results are bold, spare and direct.

This series of works, entitled "East & West", were also made on Shan paper, with a burst of spontaneity as their point of inception. Unlike "Mother & Child" though, these works are totally spontaneous, in a similar vein to Myint's abstract oil paintings. The underlying theme, of course, is the enigmatic relationship between eastern and western sensibilities.

NAY MYO SAY

Trained under master impressionist painter U Lun Gywe, Nay Myo Say learned all the rigors of drawing and painting. On these modernist foundations he formed a unique style, which have set him apart from others of his generation. These current works also show the diverse influences of traditional Myanmar arts and crafts, which have played an important role in his evolution as an artist.

In his Dancer series, Nay Myo Say has caught the essence of classical Myanmar dance. This dance form is characterized by swift, graceful choreography, executed between posed seconds where the body is held firm, shoulders arched back. By drawing with a strong leading line he captures the initial sense of anticipation, segued by the lyrical movements that follow.

At present the artist is working on a portrait series of old classical dancers. "In my research I came across many old photos of famous, and not so famous, dancers of the past. Their faces have a sincerity and openness, without posed expressions. There is a certain assured dignity to these portraits that I like a lot."

Life and people in Myanmar/ Burma