Sopheap Pich
bamboo, rattan, wire, burlap, plastics, beeswax, damar resin, earth pigment, charcoal, oil paint
63 x 47 x 3 inches (160 x 120 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, earth pigment, oil paint.
79 x 79 x 3 in. (200 x 200 x 8 cm)
bamboo, rattan, wire, burlap, plastics, damar resin, beeswax, charcoal.
79 x 79 ¼ x 3 in. (200 x 201 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, bronze powder, copper powder.
79 x 79 x 3 in (200 x 200 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, bronze powder, copper powder.
79 x 79 x 3 in. (200 x 200 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, earth pigment, oil paint.
79 x 79 x 3 in. (200 x 200 x 8 cm).
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, bronze powder, copper powder.
47 x 47 x 3 in. (122 x 122 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, charcoal, bronze powder, copper powder.
79 x 79 x 3 in. (200 x 200 x 8 cm)
bamboo, rattan, wire, burlap, plastic, beeswax, damar resin, synthetic resin, charcoal.
79 x 98.5 x 3 in. (200 x 250 x 8 cm)
bamboo, rattan, wire, burlap, plastics, beeswax, damar resin, earth pigment, charcoal, oil paint
79 x 79 x 3 inches (200 x 200 x 8 cm)
bamboo, rattan, wire, burlap, plastics, beeswax, damar resin, earth pigment, charcoal, oil paint
63 x 47 x 3 inches (160 x 120 x 8 cm)
bamboo, rattan, burlap, wire, beeswax, damar resin, earth pigment, palstics, charcoal, oil paint.
9.13 x 79.13 x 3.15 inches
bamboo, rattan, burlap, wire, beeswax, damar resin, earth pigment, palstics, charcoal, oil paint.
79.13 x 79.13 x 3.15 inches
bamboo, rattan, burlap, wire, beeswax, damar resin, earth pigment, plastics, charcoal, oil paint.
63.78 x 91.34 x 3.15 inches
April 13, 2012 - March 1, 2013
April 13, 2012 - March 1, 2013
April 13, 2012 - March 1, 2013
April 13, 2012 - March 1, 2013
April 13, 2012 - March 1, 2013
rattan, bamboo, wire, plywood, steel bolts
210 x 103 x 74 in. (533.4 x 261.6 x 188 cm)
rattan, bamboo, wire, plywood
100 ¾ x 86 ½ x 43 ¼ in. (256 x 220 x 110 cm)
rattan, plywood, burlap, glass, beeswax, charcoal, spray paint
66 x 36 ½ x 22 ½ in. (168 x 92 x 57 cm)
rattan, wire, burlap, beeswax, earth pigment
75 x 73 x 69 in. (191 x 85 x 75 cm)
rattan, wire, burlap, beeswax, earth pigment
30 x 14 x 10 ½ in. (76 x 36 x 26 cm)
rattan, wire, burlap, beeswax, charcoal
65 ¾ x 12 x 4 ¾ in. (167 x 30 x 11 cm)
rattan, burlap, encaustics, charcoal, wire
51 x 15 x 6 ½ in. (129.5 x 38 x 16.5)
rattan, burlap, encaustics, earth pigment, wire
30 x 19 x 2 ½ in. (76.2 x 48.26 x 6.35 cm)
National Taiwan Museum of Fine Arts, 2011
National Taiwan Museum of Fine Arts, 2011
National Taiwan Museum of Fine Arts, 2011
bamboo, rattan, plywood, and metal wire installation for the 2011 Singapore Biennale
117 x 134 x 126 in. (450 x 340 x 320 cm)
Singapore Biennale, 2011
Here/Not Here: Buddha Presence in Eight Recent Works exhibition
Photo by Kaz Tsuruta.© Asian Art Museum, San Francisco.
Here/Not Here: Buddha Presence in Eight Recent Works exhibition
Photo by Kaz Tsuruta.© Asian Art Museum, San Francisco.
Here/Not Here: Buddha Presence in Eight Recent Works exhibition
Photo by Kaz Tsuruta.© Asian Art Museum, San Francisco.
Rattan, burlap, pigment and water-based paint
30 x 25 x 15 in. (76 x 63.5 x 38 cm)
Rattan, burlap, pigment and water-based paint
87 x 23 x 9 in. (221 x 58 x 23 cm)
Woodblock print; waterbased ink on paper (edition of 25 + 2 AP)
23 x 30 in. (58 x 76 cm)
rattan, wire, dye
100 x 29 x 9 in. (254 x 74 x 23 cm)
Wood, Bamboo, rattan, burlap, wire, dye, metal farm tools
51 x 46 x 47 IN. (130 x 117 x 119 cm)
bamboo, rattan, wire, plastic, rubber, metal, cloth, resin
65 x 49 x 29 IN. (165 x 124 x 74 cm)
Watercolor, INK, Gouache on Paper
36.4 X 30.1 IN. (92 x 76 cm)
watercolor, INK, Gouache on Paper
44.9 x 43.3 in. (114 x 110 cm)
6th Asia Pacific Triennial, Gallery of Modern Art, Brisbane, Australia, 2009-10
Photograph: Natasha Harth. Courtesy the artist and the Queensland Art Gallery, Brisbane.
6th Asia Pacific Triennial, Gallery of Modern Art, Brisbane, Australia, 2009-10
photograph: Natasha Harth. Courtesy the artist and the Queensland Art Gallery, Brisbane.
6th Asia Pacific Triennial, Gallery of Modern Art, Brisbane, Australia, 2009-10
Photograph: Natasha Harth. Courtesy the artist and the Queensland Art Gallery, Brisbane.
6th Asia Pacific Triennial, Gallery of Modern Art, Brisbane, Australia, 2009-10
Photograph: Natasha Harth. Courtesy the artist and the Queensland Art Gallery, Brisbane.
Stainless Steel and Cast Bronze
350.5 x 92.5 x 92.5 in. and 244 x 157.5 x 47 in. (890 x 235 x 235 and 620 x 400 x 119 cm)
Stainless Steel and Cast Bronze
350.5 x 92.5 x 92.5 in. and 244 x 157.5 x 47 in. (890 x 235 x 235 and 620 x 400 x 119 cm)
Stainless Steel and Cast Bronze
350.5 x 92.5 x 92.5 in. and 244 x 157.5 x 47 in. (890 x 235 x 235 and 620 x 400 x 119 cm)
rattan and Wire
15.7 x 11.2 x 2.3 feet (478 x 341 x 70 cm)
bamboo, rattan, aluminum and metal wire
219 x 124 x 40 1/2 in. (557 x 315 x 103 cm)
bamboo, rattan, aluminum and metal wire
219 x 124 x 40 1/2 in. (557 x 315 x 103 cm)
bamboo, rattan, aluminum and metal wire
219 x 124 x 40 1/2 in. (557 x 315 x 103 cm)
rattan, wire
151 x 34.6 x 32.3 in. (384 x 88 x 82 cm)
Rattan, wire
165 x 96.5 x 35.4 in. (420 x 245 x 90 cm)
Rattan, wire
165 x 96.5 x 35.4 in. (420 x 245 x 90 cm)
rattan, wire
165 x 96.5 x 35.4 in. (420 x 245 x 90 cm)
bamboo, rattan, plywood, wire
98 1/2 x 27 1/2 x 27 1/2 in. (250 x 70 x 70 cm)
Sopheap Pich’s work is currently featured in a solo exhibition at the Metropolitan Museum of Art, New York, entitled Cambodian Rattan: The Sculptures of Sopheap Pich (through July 7, 2013), as well as a solo exhibition at Tyler Rollins Fine Art (through June 14, 2013). Entitled, Reliefs, the exhibition at the gallery features works from his Wall Reliefs series, which he debuted at Documenta (13) in 2012.
Sopheap Pich is widely considered to be Cambodia’s most internationally prominent contemporary artist. Working primarily with thin strips of rattan and bamboo, he creates sculptural forms that address issues of time, memory, and the body, often relating to Cambodia’s history, particularly with regard to his recollections of life during the Khmer Rouge period (1975-79), and its culture, both its ancient traditions and contemporary struggles. Pich’s work stands out for its subtlety and power, combining refinement of form with a visceral, emotive force. After receiving his BFA and MFA in the United States, Pich returned to Cambodia in 2002, where he began working with local materials – bamboo, rattan, burlap from rice bags, beeswax and earth pigments gathered from around Cambodia – to make sculptural forms that reference social and political conditions in Cambodia. His childhood experiences during the genocidal conditions of late 1970s Cambodia had a lasting impact on his work, informing its themes of survival, family, and basic human togetherness. Pich’s work has been featured in numerous international museum exhibitions and biennials in Asia, Europe, Australia, and the United States.
Pich’s work is currently featured in a solo exhibition at the Metropolitan Museum of Art, on view through July 7, 2013. Entitled Cambodian Rattan: The Sculptures of Sopheap Pich, it features ten sculptures from recent years, ranging from large-scale, organic forms to the grid-like Wall Reliefs shown in his 2012 installation at Documenta (13) in Kassel, Germany. The exhibition includes loans from private collections as well as from the collections of the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, and the Museum of Arts and Design. Pich’s current solo exhibition at Tyler Rollins Fine Art, entitled Reliefs (April 18 – June 14, 2013), features new works from the Wall Reliefs series.
Pich’s major sculptural installation, Compound, recently on view at the Brookfield Place Winter Garden (March 18 – April 18, 2013) as part of New York City’s Season of Cambodia festival is comprised of a modular series of rattan components. The cubic elements evoke modern buildings and scaffolding, referencing Cambodia’s current construction boom, while the bomb-shaped tubular forms recall the lingering effects of the historical traumas that continue to influence Cambodia’s contemporary social and political realities. Compound has evolved as a site-adapted installation that transforms itself in response to the built environment around it. It was originally conceived for the 2011 Singapore Biennale, where it was displayed in the rotunda of Singapore’s National Museum. It was subsequently featured in Pich’s solo exhibition at the Henry Art Gallery in Seattle, Washington (November 10, 2011 – April 1, 2012) and in the group show, Invisible Cities, at MASS MoCA (April 14, 2012 – March 1, 2013).
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