Contemporary Artist, Burma
Her highly talented work has delighted art lovers and collectors at public exhibitions in among countries and is collected by Gerard De Geer private museum collection, Sweden.
“Phyu Mon’s dominant concern is with the status of women, their inner tensions and despair at the challenges they face. Through her connectedness with time, place and situation, Phyu Mon has produced an allegorical body of work that offers a rare contemporary engagement with moral consciousness in a world that prefers to bury its horrors” – Shireen Naziree (Curator)
Phyu Mon (b-1960) is regarded as one of Burma’s most profiled conceptual artists. The Mandalay born artist graduated from Mandalay University with a BA in literature. However she studied painting under U Ba Thaw for a year between 1978 and 1979. She accepted the diploma of photography from Burma Photography Association, and photo creation and editing diploma from High Tech training school. In 2013 she accepted the post graduate diploma from Yangon Art and Culture University. She is one of the very few women artists in Burma who currently works with digital photography and visual art.
Though Phyu Mon had exhibited her symbolic paintings in group exhibitions since 1985 and became a renowned poet and writer, she developed a keen interest in conceptual art from her husband Chan Aye, who encouraged her to pursue contemporary art media. During 1997 when it was quite rare for a woman artist to present a ‘One Woman Performance,’ Phyu Mon performed her piece of Human Being Object, whose name was beginning for the end, and it was the first appearing of ladies’ performance art in Burma. This was to be followed by a number of shows both in Burma and abroad.
However Phyu Mon is best known as a leading digital artist. Digital art that she had studied in a program organized by the University of Finland allowed her to visualize her contemporary commentary, and importantly to work at the intersection of several coherent themes, particularly with regard to issues related to women in Burma, often fractured by prejudices, cultural philosophies, the subservient position of women and the economic realities that have encompassed Burma. At a time when feminine art practice in Burma could be termed as ambiguous, Phyu Mon’s broad conceptual art practice included not only her digital artworks but also performance, video, sound art and installation art. Phyu Mon initiated the ‘Blue Wind Multimedia Art Festival’ in 2009 at Myanmar National Museum.
She has experienced International Photography Festival and media art events in many countries. Her art works have been exhibited in Japan, Thailand, Korea, Hong Kong, Singapore, Malaysia, Cambodia, Denmark, Spain, USA, UK and France. She was invited to Symposium of Netherlands by Prince Cloud Foundation in 2011 and 2015. Her last Travel Art exhibitions are in Italy at Rome, Fondazione Pastificio Cerere, in Paris at Galerie Les Filles Du Calvaire, in New York at Gallery Christopher Henry, and a workshop in Aswara Art University (Malaysia) with her husband Chan Aye.
The Barbaric City’s Head – Issue 2
Untitled – Issue 2