‘Narratives from the Earth: Natural Materials in Contemporary Art’
‘Narratives from the Earth: Natural Materials in Contemporary Art’
''Words from the working team''
Nature is perhaps the most important source of inspiration to create art throughout history. Nature connects us to the source we come from, and the place we’re going to.With this show “Narratives of the Earth: Natural Materials in Contemporary Art” we seek to go back to the essential question: what is art? What is the relation between art and nature? What are the materials and resources that are at hand, in nature, that creators can use? With this project, we seek to promote the value of “traditional” knowledge, handwork and environmental responsible practices in art production.
Kaal, artistic advisor, creator
JC
This art exhibition, featuring works created by artists using natural products and resources, serves as a powerful narrative on sustainability, cultural heritage, and environmental consciousness. It can inspire both artists and viewers to appreciate and adopt eco-friendly practices in their daily lives and artistic endeavors.
Kyaw Thu Tun
Curator
This rare and unique exhibition showcases artistic expressions primarily using materials derived from nature, rather than synthetic mediums. In Myanmar, a country rich in natural resources, artisans have historically used materials such as rattan, bamboo, natural dyes, and many other natural resources, embedding them in a vast tradition of craftsmanship.
The "Materials of Life" project brought together artisans and artists, initiating the transformation of nature's gifts into works of art.
"Narrative from the Earth" can be seen as a convergence point of nature, the earth, craftsmanship, and contemporary art.
Haymann Oo
Cultural Program Coordinator
Goethe-Institut Myanmar
Phyo Thamein
The Guardian
21"×5" inches (30 Leaves)
Medium: Cloth Burmese Papercut Kammavaca
Year: 2024
The essence of Buddhism is the Kamavasa texts. The Kamavasa texts protect the religion. These texts were carefully crafted and preserved during the reigns of ancient Myanmar kings by including them in their royal attire. It is believed that as long as these Kamavasa texts are used, they continue to protect the religion. These texts contain words that ensure safety and is believed to protect those who read or hear them from harm.
In this creation, I have included the clothing of my deceased grandparents and my living parents. Our lineage has always been devout followers of the Buddha's teachings, and we aim to protect the religion to ensure its longevity. By following the Buddha's path of compassion towards all beings, we have created this with the intention of seeking well-being and safety for all living beings.
Thae Darli
Woman in Pride 1, 2 & 3
3.5 x 7.5 ft
Fabric Collages, Natural dye, hand embroidery and Bamboo
2024
The words written on the woman's body originate from the Pali and Sanskrit languages and have permeated the daily lives of Buddhist Myanmar people, influencing their beliefs and traditions. Even if a woman were to strip away her pride, emotions, and clothes, revealing her true natural self, naked, these words would still linger and dominate her bare existence. Being born and raised in this society, we must accept these predetermined norms, even if we do not wish to. Through my art, I aim to express the existence of a woman who is judged based on societal words. Using the form of Kamawa calligraphy, I have created these words in Pali, with their meanings in Myanmar, as a representation of this influence.
Soe Yu Nwe
(in collaboration with ‘Classic Home’)
Regenerative Nature, Ouroboros
Rattan, wire, steel rod and human hair
5 ft 8” x 4 ft x 1 ft
2024
Regenerative Nature, Infinity
Rattan, wire, steel rod and human hair
5 ft 8” x 4 ft x 1 ft
2024
Regeneration
Rattan, wire, steel rod and human hair
7 ft 4” x 5 ft x 1 ft
2024
Through my installation of 3 serpents, I would like to explore the idea of “Regenerative Nature” through the use of renewable natural material from plants (rattan) and humans (hair) to express the healing, resilient, and creative power of nature and Myanmar as a nation.
Khin Thethtar Latt
together with summer painting class students
The Seed of Memories
Variable size
Video work, Bamboo, Shan paper
2024
The Seed of Memories is an exploration of how the simplest, most fundamental aspects of our lives exist as profound presences on our personal identities. Through this work, we investigate childhood times, everyday occurrences, and feelings associated with home.
Visitors to this collection of memories will also resonate with their own memories. These memories are a collective presence that pertains to all of us. Through the connections between the artwork and the viewers, the Seed of Memories strives to reconnect us with the past times of our ordinary days and endeavors to enhance our understanding of the shared human experience.
Khant Aung(Citamin@)
Corrosion
Natural Dye, Bamboo, Textile
Variable size
2024
The inevitable penalties of growing up,
the impacts of a flawed era and world,
the intertwined emergence of conscious and subconscious desires,
the almost willing acceptance and the unavoidable acceptance,
the footprints of a life that has passed and those that continue to walk through life,
the wounds, the healing, the faded white dreams,
the longing for liberation, and the continuous flow of survival...
Kai
The Faith The Hope The You
7’ 7”
Rattan/ Bamboo, Natural pigments, Shan papers, Cloth, Other natural supporting tools (spear)
2024
The artwork shows a creature walking alone without giving up, conveying feelings of loneliness, betrayal and failure.
Despite facing dishonesty, they choose to remain independent, and learn from their experiences.
Criticism they receive helps them mature/grow and become stronger.
Ultimately, they shine brightly through their belief in themselves, proving that they can overcome challenges alone.
Rabbit – Symbol of Purity
Covered Eyes – The darkness/ trapped by itself
Bamboo Lamp – Hope/ Faith/ Belief
Broken Lamps – The failures
Painted Cloak – The damages/ judgements/ critics from people
Symbols of Viking – His belief to grow and strong
Morris John
A rat was found dead in the ‘Ye Gae Sine’ (Ye Gae Sine = Ice Shop)
Bamboo & Wires
39" × 19" × 18"
A large black rat arrived at the platform near the ‘Ye Gae Sine’ bus stop. The rat I saw in the morning at the ‘Ye Gae Sine’ was dead by the evening. Seeing the trash being thrown into the drainage made me wonder if it would end up in the drainage or the trash the next day. I worried if I were a ‘Ye Gae Sine’ rat.
I got off at the ‘Ye Gae Sine’.
6 paintings
Ink & Natural Pigments on Shan Paper
1.5' × 1.5'
‘Ye Gae Sine’ is the one-way bus stop. When I first heard about it, I thought ice would be sold here. One day, the bus drove past the ‘Ye Gae Sine’ without dropping me off. Since that day, I've wanted to shout, "Please drop me off at the ‘Ye Gae Sine’."
Please drop me off at the ‘Ye Gae Sine’ (book) & (Poster)
Linocut Prints on Shan Paper
A5 (24 pages)
Acrylic on Shan Paper
3' × 5'
One day, I ended up in an unexpected place. The air was quite cool, so I drank warm water at a shop by the road. I also had a plate of fried rice. Someone was sitting across from me, facing me in a circle. I didn't know who that was.
Kaal
Bodhi tree I, II
Shan paper, sumi ink, charcoal, bamboo, wire, rice glue.
37x60 in
2024
The pieces are inspired by the “hashiragake”, bamboo banners displaying mantras and sutras that were popular in ancient Buddhist temples in Japan. The Shan paper is painted with Japanese sumi ink (a “diluted” ink stone) and mounted on a bamboo frame. These natural and pure materials are ideal to represent the quality of a Bodhi tree, the spiritual and protective tree venerated across East Asia.
