That is one of my paintings I drew in 1995. The face of the relining image of the Buddha which is different from the one in the east side: one out of two images at Manuha Temple. I did it as I liked some light of existing on the face.
At that time I was fed up with the blind works of personal experiences as I believe art is not for individual point of view and disappointed with the mess expressions of senselessness, craziness, sadness, happiness, hunger, darkness, desires, sufferings and wounds getting in one’s life.
In other words, I did it at a time I, myself, am tired of the various sounds from a life in a painting. I wanted to draw the paintings with no more sight of painter but the silence of meaning and definition. I liked to accomplish them with the mind over pain. Then I saw the Buddha face and drew the painting, in the time I wanted to avoid the stupid expressions by suffering over and over again and trying to attract and persuade by those things as I am convinced that no more drawing by grapping something still and wishing to give and take at all.
And ‘Buddha Face’ had everything I liked to mean for a painting and others could understand easily.
But for some reasons, I had to change the certain things like removing the vases and some other stuff under the face, rectifying some carved lines of entrance, silencing by restricting the tone of light and shade horizontally and making sure simply mono color in it. In this way, I could make the quietness of ‘Buddha Face’ beyond a thousand concept.
I, later, really appreciate the idea followed by intuition but without attention; how things happen to you and how you suffer for them and the art work which contains own creative skill.
I presented that painting in one of the exhibitions in Singapore together with the members of Inya Gallery. I found that the art lovers were pleased with it. When I think of it, although it is a bit old now, I am satisfied with it as I could finish a work. The work that I took responsibility by myself to accomplish since a long time ago. In the world’s art, too, there are intellectual senses which emerge by overcoming inner mind of creator and the negative nature within universe in late years. Take one example here. We can see kind of new creation in some works like ‘Poly Poetry’ by the contemporary artist, Enzo Minarelli (1951-Â Â Â Â Â ), such as ‘Sound Environment’, getting beyond the meanings and definitions from the significant words in his poems: getting beyond the meanings and limitations carrying out by the words.
Anyway, ‘Buddha Face’ is my first pace for the way I like and one of my pieces which come to the sight of public.
27, February, 2000
translated by Pann Hmone Wai