🔥 Vintage Modern Asian BURMA Cubist San Francisco Cityscape Painting, Aung TAIK

Description: This is a visually striking and expressive RARE Vintage Modern Asian BURMA Cubist San Francisco Cityscape Diptych Painting, Oil or Acrylic on Canvas, by pioneering Burmese Modernist painter and sculptor, Aung Aung Taik (b. 1948.) This artwork depicts a cubistic and colorful urban cityscape scene, likely a vision from the summit of a high rooftop in San Francisco, California, where the artist traveled to from his homeland in 1972. Taik was subsequently represented by the prestigious Galeria Heller of San Francisco, California around this time period, and this painting is assuredly from this artistic era in his life. Signed: "Aung Taik" in the lower right corner of the right half of this two-piece artwork. This piece is a diptych painting, and each half is approximately 31 x 41 inches (including frame.) Actual paintings are approximately 30 x 40 inches each. Very good condition for age and storage, with faint speckles of light paint loss, which is visible on the right half of the tableau (please see photos.) Acquired from an affluent estate collection in Laguna Beach, California. Priced to Sell. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Aung Aung Taik Born: 1948 Known for: Painting Aung Taik (Born 1948) is known for Painting. Aung Aung Taik In essence, I will say that, it is obvious that things exist temporarily within their own nature and contrarily we labor to build that nature into an edifice of permanence. Burmese artist Aung Aung Taik came to the United States in 1972 seeking artistic freedom. Alongside his paintings and sculpture, he has also written two books, “Visions of Shwedagon” and “Under the Golden Pagoda – The Best of Burmese Cooking”. Based in San Francisco he makes yearly visits to Burma where he is still deeply involved in the arts community. Aung Aung Taik Born in Rangoon, Burma in 1948, the Burmese artist Aung Aung Taik, received the traditional boarding school education of his class, after which he decided not to follow his father’s footsteps and enter medical school, but to study painting. He attended the State Academy of Art in Rangoon and took private lessons from two of Burma’s leading artists, U Ba Kyi and U Ngwe Gaing. Afterwards, he accompanied his mentors, the writers Ludu U Hla and Daw Ahmar on a number of anthropological expeditions into the remote regions of Burma. Aung Aung Taik illustrated a series of books published by Ludu U Hla. Successful exhibitions of his work in Burma and Japan followed. Dissatisfied with stagnation in the fine arts and seeking greater artistic autonomy, Aung Aung Taik left Burma and came to the United States in 1972 and continued his studies at the San Francisco Art Institute. A series of exhibitions led to his first one-man show at the Mission Cultural Center in 1981, where Tom Albright commented in the San Francisco Chronicle that Aung Aung’s paintings “…suggest some of the strange stage sets of Francis Bacon carried to a greater degree of abstraction… Intense engagement with the diversity of cultural life in the San Francisco of the 80’s led him to a mastery of the English language and the desire to express some of his understandings in poetry and prose. Visions of Shwedagon (1989), an autobiographical novel followed, and with it a renewed interest in the Theravada tradition of Buddhism native to his homeland. Aung Aung extended his grasp of that unique viewpoint with a series of sculptural representations of the Buddha and the essay, “ A View from the Lower Life”(1992). In a further celebration of the traditions of his homeland, he published his Under the Golden Pagoda (1993) with Chronicle Books, reclaiming Burma’s rich cuisine as an integral part of his San Francisco life. Aung Aung Taik became an American citizen in 1994. In 2001, Aung Aung Taik, one of the pioneer modern artists of Burma, returned to his beloved country to paint, and have his first solo exhibition there after 30 years in America. Since then, Aung Aung Taik has been visiting Burma annually having one man shows and group shows in Rangoon and Mandalay. He conducted art workshops and forums at Htanyeiknyo Art Center in Mandalay. He is of one of the founders of Art Space, which opened in February 2008. Art Space represents a group of modern artists called the New Zero Art Group, of which Aung Aung Taik is also a member. Art Exhibitions and Poetry Readings: 1964 State Annual Art Exhibition, Envoy Hall, Rangoon, Burma. 1967 Modern Art Exhibition, Y.M.C.A., Rangoon, Burma. 1968 State Annual Art Exhibition, Jubilee Hall, Rangoon, Burma. Emporium Art Exhibition (Three paintings bought by Madame Ne-Win, the late First Lady) 1969 Monsoon Modern Art Exhibition, Burma Medical Association, Rangoon, Burma. Private exhibition, sponsored by Mr. and Mrs. Olson of Pan American Airlines, Rangoon, Burma. Private Exhibition sponsored by Mr. and Mrs. H. Sewell, Military Attaché, U.S. Embassy, Rangoon, Burma. 1970 Expo '70, Osaka Trade Fair, Japan. Exhibition of Burmese Paintings, Alliance Francaise (May 1970), Rangoon, Burma. Exhibition of Burmese Paintings, Alliance Francaise (December 1970), Rangoon, Burma. 1971 State Annual Art Exhibition, Envoy Hall, Rangoon, Burma. Emporium Art Exhibition, lnya Lake Hotel, Rangoon, Burma. Shaung-Ya Dhu Art Exhibition held at the Burma Medical Association, Rangoon, Burma. 1972 Emporium Art Exhibition, Inya lake Hotel-Rangoon, Burma. Second Rangoon Township Art Council Annual Art Show, Envoy Hall, Rangoon, Burma. Nway-Ya-Dhu Art Exhibition, Medical College "Dome", Rangoon, Burma. Annual Art Exhibition, Mandalay Town Hall, Mandalay, Burma. Galleria Heller, San Francisco, California. 1973 The Addison Greene Gallery, New York, New York. 1974 The Metzer Krasnow Gallery, Scarsdale, New York. The Village Gallery, Crestwood, New York. 1977 Capricorn Asunder Gallery Group Show, San Francisco, California. 1979 Private showing sponsored by Rene Bullard Tancer- Galleria Heller, San Francisco, California. 1980 Fukuoka Konnichino, Bijujsuten, Japan. 1981 One man show a~ Galleria Museo: Mission Cultural Center San Francisco, California. 1985 One man show-CCC and Arts Commission of Belvedere-Tiburon. 1986 Chosen amongst eight poets to read at the first ever Poetry Day of San Francisco. 1987 Represented Myanmar at the National Poetry Week Festival, San Francisco, California. 1988 Native Symbols: An Exhibition of Drawings on Ceramic Plates, M. Sanchez Gallery, San Francisco, California. 1989 The Poet as Artist- Artist as Poet: An art exhibition sponsored by the National Poetry Association, San Francisco, California. Represented Myanmar at the National Poetry Week Festival, San Francisco, California. In a Different Syntax: Writing in Other Tongue Forced to say it otherwise: Reading by Aung Aung Taik. 1990 Group show, Fort Mason Art center. Represented Myanmar at the “Poetry from the Pacific Rim”-San Francisco, California. Painted three 30x40 foot paintings for the National Poetry Association at Fort Mason-San Francisco, California 1991 Group show- SOMAR Gallery, San Francisco, California. Solo reading at the International Institute of San Francisco. 1992 One man show- Woodstock Country Club, Indianapolis, Indiana. San Francisco: “A Microcosm-Featuring Leading Immigrant Poets”- Aung Aung Taik (Burma) 1993 Group show-SOMAR Gallery, San Francisco, California. Artables at Enrico's- San Francisco, California. 1994 In the Company of Light- Group Show- Palace of Fine Arts, San Francisco, California. Memorial Reading for Writers and Artists who have died of AIDS. 1995 Artists to Artists in Kobe- Group Show- San Francisco California. Group show-SOMAR Gallery-San Francisco, California. (Art) Works with Word (Art)-San Francisco, California. 1996 One man show- Washington Square Gallery- San Francisco, California. 1997 Pleasure of the Palettes-Group show-Phoenix Arizona. 2001 One man show-Htan Yeik Nyo Art Center-Mandalay, Myanmar. One-man show-Beikthanoe Art Gallery, Yangon, Myanmar. Solo poetry reading-Mr. Guitar, Yangon, Myanmar. 2003 Group show-Htan Yeik Nyo Art Center-Mandalay, Myanmar. 2004 Group show-Fresno Art Museum. 3As group show-Beikthanoe Art Gallery, Yangon, Myanmar. Peintres Contemporains Birmans: Alliance Francaise de Rangoun. 2005 New Zero Group show- Lawkanat Gallery, Yangon, Myanmar. 2005 New Zero Group show- Lawkanat Gallery, Yangon, Myanmar. 2006 New Zero Group show- Lawkanat Gallery, Yangon, Myanmar. 2007 New Zero Group show-Beikthanoe Art Gallery, Yangon Myanmar. Note: Cancelled by the Government. 2008 Burma Now: Photo Show. -San Francisco Mart. Group Show-Beikthanoe Art Gallery, Yangon, Myanmar. New Zero Art Space-Yangon, Myanmar. 2009 Asean Contemporary Art Exchange Exhibition, Yangon, Myanmar. Fresno Art Museum-One man show February 20, 2009 Aung Aung Taik-Gustavo Rivera- Two Men Show, Golda Art Space, California “Link”-State Academy of Fine Arts: Alumni Exhibition, Yangon, Myanmar Artist in Residence - New Zero Art Space, Yangon, Myanmar 2010 Tales of Two Maps-Group Show, Hong Kong “Interpretation of Interpretation” , University of San Francisco. 2011 Poets in the Arboretum at University of California Davis- Solo Reading “Paper-Sissors-Glue” Bay Area Collage- Bryant Street Gallery, Palo Alto, California. Losing Count - Galleria de la Raza - San Francisco, California International Art Show for Peace - Losing Count -Zacatecas, Mexico 2012 San Francisco Collage Collective - Group Show Charity Art Fair for People Living with HIV - Yangon, Myanmar International Multi Media Art Festival - Yangon, Myanmar 3A's - Aung Aung Taik, Aung Myint, Aye Ko - Yangon, Myanmar 2013 Group Show - a.Muse Gallery - San Francisco, California Publications: 1989 "Visions of Shwedagon”-an autobiographical novel- published by White Lotus, Bangkok, Thailand. 1990 “On the Road from Mandalay”- an essay on the literary scene of Burma -published by San Francisco Review of Books. 1992 "A View from the Lower Life"-`an essay on young Burmese monks- published by Icarus-The Rosen Publishing Group, New York, New York. 1993 ”Under the Golden Pagoda”: The Best of Burmese Cuisine”-published by Chronicle Books, San Francisco, California. “Meeting Betty Kano"- an article on the artist Betty Kano -published by University of California, Santa Cruz. Aung Aung Taik A pioneer of modern art in Myanmar, Aung Aung Taik first attended the State Academy of Art in Rangoon where he studied under two of Burma's leading contemporary artists, U Ba Kyi and U Ngwe Gaing. Taik exhibited successfully throughout Burma and Japan in the 1960s however, as his work moved towards greater abstraction, the government put increasing pressure on him to conform to representational norms and confine himself to officially approved subject matter. Seeking greater artistic autonomy, Taik left Burma in 1972 and immigrated to the United States where he continued his studies in California at the San Francisco Art Institute. Taik has exhibited with success internationally, including in Japan, Brazil, Mexico and Burma and, in the United States, in Arizona, New York and California and elsewhere. On viewing his first one-man show at the San Francisco Mission Cultural Center in 1981, Tom Albright commented in the San Francisco Chronicle that Aung Aung’s paintings '...suggest some of the strange stage sets of Francis Bacon carried to a greater degree of abstraction…". After 30 years in the United States, Taik returned to Burma in 2001 to attend his first solo exhibition in his native land. He has since returned annually and holds both one-man shows and group shows in Rangoon and Mandalay. He also conducts art workshops and forums at the Htanyeiknyo Art Center in Mandalay and is a member of the modernist New Zero Art Group. Selected Exhibitions: * Group Show - a.Muse Gallery - San Francisco, California * 1964 State Annual Art Exhibition, Envoy Hall, Rangoon, Burma. * 1968 State Annual Art Exhibition, Jubilee Hall, Rangoon, Burma. * 1969 Private exhibition, sponsored by Pan American Airlines, Rangoon, Burma. * 1969 Exhibition sponsored by U.S. Embassy, Rangoon, Burma. * 1970 Expo '70, Osaka Trade Fair, Japan. * 1970 Exhibition of Burmese Paintings, Alliance Francaise Rangoon, Burma. * 1972 Annual Art Exhibition, Mandalay Town Hall, Mandalay, Burma. * 1972 Galleria Heller, San Francisco, California. * 1973 The Addison Greene Gallery, New York, New York. * 1974 The Metzer Krasnow Gallery, Scarsdale, New York. * 1977 Capricorn Asunder Gallery Group Show, San Francisco, California. * 1980 Fukuoka Konnichino, Bijujsuten, Japan. * 1981 One man show a~ Galleria Museo: Mission Cultural Center, San Francisco, California. * 1987 Represented Myanmar at the National Poetry Week Festival, San Francisco, California. * 1988 Native Symbols: An Exhibition of Drawings on Ceramic Plates, M. Sanchez Gallery, San Francisco, California. * 1989 The Poet as Artist- Artist as Poet: An art exhibition sponsored by the National Poetry Association, San Francisco, California. * 1989 Represented Myanmar at the National Poetry Week Festival, San Francisco, California * 1990 Group show, Fort Mason Art center. * 1990 Represented Myanmar at the "Poetry from the Pacific Rim"-San Francisco, California. * 1990 Painted three 30x40 foot paintings for the National Poetry Association at Fort Mason-San Francisco, California * 1997 Pleasure of the Palettes-Group show-Phoenix Arizona. * 2001 One man show-Htan Yeik Nyo Art Center-Mandalay, Myanmar * 2004 Group show-Fresno Art Museum. * 2007 New Zero Group show-Beikthanoe Art Gallery, Yangon Myanmar. * 2008 Burma Now: Photo Show. -San Francisco Furniture Mart. * 2008 Group Show-Beikthanoe Art Gallery, Yangon, Myanmar. * 2009 Fresno Art Museum-One man show. * 2009 Asean Contemporary Art Exchange Exhibition, Yangon, Myanmar. * 2009 Aung Aung Taik-Gustavo Rivera : Golda Art Space. * 2009 Artist in Residence in Yangon, Myanmar conducting workshops and seminars. * 2010 Installation Exhibition- Aung Aung Taik and Aye Ko- New Zero Art Space * 2010 From 64 to 71 exh, Hong Kong * 2011 Paper, Scissor and Glue- Bryant Street Gallery- Palo Alto Ca. * 2011 Poetry in the Garden-Solo Reading- UC Davis, Ca.[13] * 2011 Galaria de la Raza- San Francisco. * 2011 International Art Show for Peace, Zacatecas, Mexico. Aung Aung Taik Aung Aung Taik (born 1948) is a Burmese artist. Born in Yangon, Burma in 1948, he received the traditional education of his class. Following boarding school he decided not to follow in his father's footsteps through medical school, but rather chose to study painting. He attended the State Academy of Art in Rangoon and took private lessons from two of Burma's leading artists, U Ba Kyi and U Ngwe Gaing. His mentors, the writers Ludu U Hla and his wife Daw Amar introduced him to the world of letters and philosophy. He accompanied them on a number of anthropological expeditions into the remote regions of Burma and illustrated a series of books published by Ludu U Hla. He had successful exhibits of his work in Burma and Japan but as his work moved in an abstract philosophical direction the government put increasing pressure on him to conform to representational forms and heroic socialist subject matter. Wanting more artistic freedom, he immigrated to the United States in 1972 and continued his studies at the San Francisco Art Institute. A series of exhibitions led to his first one-man show in the United States in 1981, where Tom Albright commented in the San Francisco Chronicle that Aung Aung's paintings “...suggest some of the strange stage sets of Francis Bacon carried to a greater degree of abstraction...” Fascinated by the act of dissection, Aung Aung Taik's later mixed media works are the result of a deep curiosity regarding the study and comprehension of the source of life and the death that follows. Intense engagement with the diversity of cultural life in the San Francisco of the 80s led him to a mastery of the English language and the desire to express himself in poetry and prose. His autobiographical novel Visions of Shwedagon in which he wrote of art, love, death and religious contemplation along with a deep devotion to his home country was published in 1989. A renewed interest in the Theravada tradition of Buddhism native to his homeland led to a series of sculptural representations of the Buddha and the essay, A View from the Lower Life' (1992). An accomplished cook, he wrote Under the Golden Pagoda - The Best of Burmese Cooking,[10] an early introduction of Burmese cuisine to the West. Aung Aung Taik became an American citizen in 1994. Return to Burma In 2001, he returned to Burma to paint, and had his first solo exhibition there after 30 years in America. He has returned annually and has had one man shows and group shows in Rangoon and Mandalay. He conducts art workshops and forums at the Htanyeiknyo Art Center in Mandalay. Aung Aung Taik is a member of a group of Burmese modern artists called the New Zero Art Group as well as the founder of [Friends of Myanmar Arts], a non-profit organization formed to benefit the arts community in Burma. Selected events1964 State Annual Art Exhibition, Envoy Hall, Rangoon, Burma.1968 State Annual Art Exhibition, Jubilee Hall, Rangoon, Burma.1969 Private exhibition, sponsored by Mr. and Mrs. Olson of Pan American Airlines, Rangoon, Burma.1969 Exhibition sponsored by Mr. and Mrs. H. Sewell, Military Attaché, U.S. Embassy, Rangoon, Burma.1970 Expo '70, Osaka Trade Fair, Japan.1970 Exhibition of Burmese Paintings, Alliance Francaise Rangoon, Burma.1972 Annual Art Exhibition, Mandalay Town Hall, Mandalay, Burma.1972 Galleria Heller, San Francisco, California.1973 The Addison Greene Gallery, New York, New York.1974 The Metzer Krasnow Gallery, Scarsdale, New York.1977 Capricorn Asunder Gallery Group Show, San Francisco, California.1980 Fukuoka Konnichino, Bijujsuten, Japan.1981 One man show a~ Galleria Museo: Mission Cultural Center, San Francisco, California.1987 Represented Myanmar at the National Poetry Week Festival, San Francisco, California.1988 Native Symbols: An Exhibition of Drawings on Ceramic Plates, M. Sanchez Gallery, San Francisco, California.1989 The Poet as Artist- Artist as Poet: An art exhibition sponsored by the National Poetry Association, San Francisco, California.1989 Represented Myanmar at the National Poetry Week Festival, San Francisco, California1990 Group show, Fort Mason Art center.1990 Represented Myanmar at the "Poetry from the Pacific Rim"-San Francisco, California.1990 Painted three 30x40 foot paintings for the National Poetry Association at Fort Mason-San Francisco, California1997 Pleasure of the Palettes-Group show-Phoenix Arizona.2001 One man show-Htan Yeik Nyo Art Center-Mandalay, Myanmar2004 Group show-Fresno Art Museum.2007 New Zero Group show-Beikthanoe Art Gallery, Yangon Myanmar.2008 Burma Now: Photo Show. -San Francisco Furniture Mart.2008 Group Show-Beikthanoe Art Gallery, Yangon, Myanmar.2009 Fresno Art Museum-One man show.2009 Asean Contemporary Art Exchange Exhibition, Yangon, Myanmar.2009 Aung Aung Taik-Gustavo Rivera : Golda Art Space.2009 Artist in Residence in Yangon, Myanmar conducting workshops and seminars.2010 Installation Exhibition- Aung Aung Taik and Aye Ko- New Zero Art Space2010 From 64 to 71 exh, Hong Kong2011 Paper, Scissor and Glue- Bryant Street Gallery- Palo Alto Ca.2011 Poetry in the Garden-Solo Reading- UC Davis, Ca.2011 Losing Count- Galaria de la Raza- San Francisco.2011 International Art Show for Peace-Losing Count- Zacatecas, Mexico. From Myanmar to the Beat generation. Interview with Aung Aung Taik Aung Aung Taik was born in Yangon, Myanmar. He started to exhibit his work in Yangon in 1964. Dissatisfied with stagnation in the arts and seeking greater artistic autonomy, he left his country and went to the United States in 1972 and continued his studies at the San Francisco Art Institute. He also wrote Visions of Shwedagon (White Lotus 1989), an autobiographical novel. The essay A View from the Lower Life (Icarus 1992) and Under the Golden Pagoda: The Best of Burmese Cuisine (1993.) In 2001, he returned to Myanmar for the first time in 30 years. Since then, Aung Aung Taik has been visiting Burma, having one man shows and group shows in Yangon and Mandalay. He also conducts art workshops and forums. EB- It’s a great pleasure and a big honor to interview one of the pioneers of modern art in Burma. You are a precious witness of Burmese contemporary art and its history. There are few books about the history of Burmese contemporary art. Specially in Italy and in Europe there are some difficulties to know how the contemporary art system has developed. Venice Biennial don’t have a Myanmar Pavilion. Can you tell about the Burmese artistic panorama before your exile in the USA? AAT- You could say that I was one of the pioneers of Burmese contemporary art if the classification is of a general adjectival phrase, rather than a special type of art that came out from an art movement as defined by art experts. I did not set out to be a pioneer, I was simply pursuing a realization that there are many ways to approach a painting other than painting what you see. Modern Art…Contemporary Art, these two oversized words put art in some kind of little boxes. Yes, Burma has gotten on the marquees of world attention because of politics. Now it is the financial expediency. In 2001, I returned to Burma after thirty years to see my beloved homeland. I met my old artist friends who had aged quite harshly because of heat and other distressing conditions. Not only did I recognize them, they bought me back to the younger days when we had art shows together. We did not have galleries like we do today in Yangon. Since my father was a very well-known doctor of Myanmar, we were able to have art exhibitions at the Institute of Medicine’s Convention Hall, BMA hall and the YMCA. Even then, we had to go through the strict censorship board. The annual art exhibition sponsored by the Art Council allowed two pieces per artist. How artists survived during those days under the Burmese Way to Socialism is beyond me. Our group, the so-called modern artists group was quite fortunate to have connections with the diplomatic circles. Art supplies were shipped to the government store about every four months. Most of the time, the shipment only included five colors. At times, we would not take money when we sold paintings to a diplomat but instead asked to bring back paints and brushes from abroad. It was not an easy time but somehow, we managed to have fun. EB: During almost half a century the dictatorship controlled the artistic expression in Myanmar through censorship. This has constituted a serious impediment to the free communication of the artists. Is it true that the use of red color was forbidden? AAT- No-it is not true that the red color was forbidden. But, during the time of the dictatorship or before democracy came to Myanmar, it all depended on how red was used. If an artist splashed red and it looked like blood splatter pattern, the censorship board would more likely read it as a result of a kill. And that kill would translate as a bullet hitting a body, meaning an anti-government protester. Or if a painting is just nothing but red all over as in modern art, they might see it as a symbol of communism. No one knows what people are reading in their heads. I have heard those kinds of incidents did happen to some artists. But the color red was never forbidden completely. We need red to paint traffic lights, ambulances, fire trucks, hospital signs, barber shops etc..etc. EB- As a poet and author you have written two books, a big biography of 269 pages illustrated by you: Visions of Shwedagon (1989) and Under the Golden Pagoda: The Best of Burmese Cuisine that includes over 150 recipes (1993). Your books reveal the great love for your culture and how to live away from your own country. How did your relationship with literature develop and are there any relationships between literature and art in your works? AAT– I had never dreamt that I was capable of or had the urge to write a book, set aside writing poems. Most of the people I came to know in the early part of my life in San Francisco were writers and poet. And they all lived in an area called North Beach, noted as a recreation ground for the generation of Beatnik poets. I met the patriarch himself…Allen Ginsberg. Also, Gregory Corso, Jack Hirschman, James Broughton, Neeli Cherkovski…just to namedrop a few. Of course, the late Brion Gysin of Paris. They all liked my paintings as well as my take on life. They exhorted me to write. They wanted to see and read my thoughts in print. Prose was not as back breaking as I had anticipated. Then came poetry. As a young student, reading poems by great legendary poets was like taking me on a journey of mind in comfort. I thought only the next to God people could write poems. Gregory Corso advised me to sing in my mind what I wish to say. It was an amazing experience reading poems on stage…now and then of course. Relationship between literature and art. Words in forms and forms in words…to put it simply. EB- Yours paintings are abstract, your documentary photos are straightforward and accurate representation of people and places and finally your sculptures can incorporate different types of material, like porcelain or mixed media. Some sculptures are interesting because they mixed metallic with organic objects, like your fish series. Your sculpture might quote kinetic and cyber sculptures, so that may we define you as an interdisciplinary and experimental artist? AAT- An experimental artist through my interdisciplinary means. Creation is the reward of experiments. The problem with our times is, no one is interdisciplinary. Everyone is an expert in only one thing. So, no one wants to be solely responsible or accounted for. One type of knowledge is not enough. We need to be Jack of all trades and the master of all. EB- I really appreciated your phrase: “In essence, I will say that, it is obvious that things exist temporarily within their own nature and contrarily we labor to build that nature into an edifice of permanence.” It’s poetic and it shows a profound reflection on the surrounding world. Is it inspired by a philosophical thought? AAT- Yes, I am inspired- in and around the region of a philosophical thought. Then again, we must define and articulate what we are after. Sometimes, when ‘Eureka’ strikes you, you put it in use in your daily encounter with life. Forget the enlightenment part. That’s too much in the distance for our frail human beings. Once you know the truth, that should be quite adequate for the short life we are given to live with some equanimity. Do you think we have the time or the ability to know absolute truth? I believe not. Especially, the absolute truth of the absolute truth. EB- Who are your intellectual masters and what historical artistic current do you prefer? Or better, can I ask you to which artistic current you feel closer? AAT- In my biography, I have mentioned the late writers Ludu U Hla and his wife Daw Ahmar as my mentors. They were not mentors in the sense that I was an obsequious student being tutored the do’s and don’ts. They took me in their home and by living with them, I had observed their dedication to their work, treatment to each other and to others, kindness and generosity, calm and level headed. I had spent many years with them and had never witnessed an uncontrollable outburst or mental explosion. And yet, I have not attained even half of what I have gotten from them. Also, I am very grateful to my DNA which has provided me with a curious and observant nature to things that come across my life. What you hear, see, smell and taste are the teachers. Individualism is something I will always hold on to. The rest, they come and go. EB- So, how did you become familiar with abstract art and assemblage sculpture? AAT- When I was growing up, books were a rare commodity. The Socialist government, because of its failed economic policies did not have extra foreign exchange to import books from abroad. Especially art books. One of the things I admire about my people is their love for reading. Reading is a very valuable pastime. I mean reading…period. No matter what you read, reading is always more fertile than NOT reading. The most bountiful small businesses during those times of paucity were the rental stalls for old used books. One could rent a book for next to nothing. ‘Brain food’ I should say. Thanks to these rental stalls, I was able to peek in into the Byzantine, Romanesque, Renaissance, the Italian high Renaissance Arts. Later, some of my diplomat friends gave me books on modern art. I was in love with the German expressionists, then followed by abstract expressionists. I always felt that to do abstract art, one must have a more open and mature understanding of life. Since I was young and also growing up within some kind of an objective society, I was not ready to do abstract. My mind was still raw and unripe. But nevertheless, told myself that my mind will eventually become abstract as I aged in time. Now my mind is thinking in terms of abstraction quite fluently. I personally think that abstraction is thinking in the simplest essence. On your question about assemblage sculpture…. I am a green person and truly believe in recycling. All the parts I used in my work came from once functioning components whose original purposes have demised. Upon taking them apart, I found each piece unique in form and intent. I reuse the pieces in my work by putting them back altogether differently. This time not for pragmatic purposes but for the stimulation of pure imagination. But their new life and purpose as an art piece will also end someday for some reason just as their first life did. E.B- You have accepted to participate, as one of the masters, in the coming Art Expo Yangon 2017 organized by Culture2All NGO, how do you consider this not-for-profit initiative in the perspective of capacity building of young artists? AAT- Wow…I am very much flattered to be put in the rank of the masters. I am blushing if you can imagine. Let me put it this way. Young artists need to exhibit their work to bring them into contact with the public. The more they produce paintings and the more they show, the more they are going to gain this valuable experience called the wisdom of the soul….that is the special vitamin to the artist’s brain. There is not an ounce of detriment in building betterment. Interview by Eugenia Battisti

Price: 3500 USD

Location: Orange, California

End Time: 2024-11-08T02:46:46.000Z

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