Open sesame
As Myanmar is drawn into the world, its artists are experimenting with abstract art forms and modern techniques, writes Rosie Gogan-Keogh
Shortly after the release of Myanmar democracy icon Aung San Suu Kyi from house arrest in 2010, a national portrait competition was held in the country. Artist Khin Zaw Latt entered two works: one of his mother, and another titled Just a Portrait that depicts the opposition leader made up of tiny images of her assassinated father, General Aung San.
It was the first time since Myanmar started its journey of democratic reform after five decades of isolation that an artist had painted "The Lady" for a public exhibition. The art censors checked every painting - as they still do now before an exhibition is opened - and when they came to this dramatic red piece, they were not sure what to do. Previously, they had banned anything with political references. Finally, the head censor said: "It's just a portrait." The show was granted permission.
A lot of the artists are not overtly political, they are just painting society. Change hasn't trickled down through society.
It was a groundbreaking moment for Myanmar's artists who were testing the boundaries of censorship in this new era.
A growing number of galleries had been set up over the past decade: in the early 1990s, there was only one private gallery in Yangon; there are now about 30 galleries in the former capital and 60 across the country to showcase the works of artists from this impoverished nation who have persevered through its days of military rule. "[Artists] have been under-appreciated," says Gill Pattison, who founded the River Gallery in an annex of Strand Hotel in Yangon in 2005.
Media attention briefly focused on the former pariah state's galleries recently when, in a bizarre and slightly jarring move, Khin Nyunt, former prime minister, intelligence chief and notorious torturer, threw open the doors of his home to the public as an arts space, café and souvenir shop.
Speaking at the space in a leafy compound in suburban Yangon, gallery manager Thazin Myint Thaw says of Khin Nyunt: "He wants to exhibit every kind of painting, so he allows artists to show what they want free of charge, to help bring Myanmar's art to the world."
The works on show are by a trio of older artists who call themselves the Golden Triangle. Impressionist rural landscapes and views of temples dot the walls of the space. Myanmar's isolation meant the art scene has developed with relatively few external influences, and most art remain traditional, like the Golden Triangle works. Vibrant colours are common, but the use of experimental techniques or mixed media is limited.