Artist
Tin Win has recently begun to combine eastern and western artistic influences.
Trained in the fine arts at Mandalay State School of Fine Arts, he was influenced by the
British watercolorists who helped launch modern painting in Myanmar years ago under
British rule. In addition, Tin Win developed a strong interest in the antiquities of
his homeland, and has studied them in detail. After years of contemplation, and
observations on changes in Myanmar society, the artist created this series of works,
entitled "Beyond..."
Beyond Ganesha, 2002
36" x 48", oil and gold leaf on
canvas
In a
sense, this series of works embodies the sentiments expressed by many progressive people
in Myanmar today. This art reflects on the delicate balance of embracing modernity
while holding on to cultural traditions. If one views traditions as fixed in
time, and modernization as progression, then perhaps the phrase "Beyond"
is indicative of a more subtle confluence, or mediation, between these two forces.
Beyond Arakan (Ancient City), 2002
36" x 48", oil and gold leaf on
canvas
"Bringing
the traditional and modern together helps me look at the world in a very different
way. In bringing these together I don't loose contact with the past. In my
works there is, I believe, a universal message. One sees a connection with
other ancient cultures. The development of these connections is expressed through
universal elements, such as coins, seals, terra-cotta figures and craft works."
Beyond Pyu Period, 2002
36" x 48", oil and gold leaf on
canvas
Win has a
particular interest in the art and culture of the Pyu period (2nd/3rd to 8th century AD)
and the Pagan period (particularly the 11th to 13th centuries AD.) From these he has
drawn such symbols as Ganesh, nadi Bull, silver coins, Kinnari, Vishnu, Lakshmi, and
Buddha heads as well as sitting Buddhas and the use of gold leaf, which is common in
traditional Myanmar religious and temple architecture.
Beyond Linga, 2002
36" x 48", oil on canvas
The geometric background surfaces function like color fields.
Filled with muted colors they rest in harmony and reflect those colors frequently found in
traditional Myanmar crafts, especially lacquerware. The abstract surface texture
recalls the tangled webs of Jackson Pollock or the gestural expressions found in
traditional Chinese ink paintings. Be it subject matter, context, or technique, the
juxtaposition of east and west exists in totality within Win's works.
<Previous 1 of 3
Next>
Artist
Tin Win has recently begun to combine eastern and western artistic influences.
Trained in the fine arts at Mandalay State School of Fine Arts, he was influenced by the
British watercolorists who helped launch modern painting in Myanmar years ago under
British rule. In addition, Tin Win developed a strong interest in the antiquities of
his homeland, and has studied them in detail. After years of contemplation, and
observations on changes in Myanmar society, the artist created this series of works,
entitled "Beyond..."
In a
sense, this series of works embodies the sentiments expressed by many progressive people
in Myanmar today. This art reflects on the delicate balance of embracing modernity
while holding on to cultural traditions. If one views traditions as fixed in
time, and modernization as progression, then perhaps the phrase "Beyond"
is indicative of a more subtle confluence, or mediation, between these two forces.
"Bringing
the traditional and modern together helps me look at the world in a very different
way. In bringing these together I don't loose contact with the past. In my
works there is, I believe, a universal message. One sees a connection with
other ancient cultures. The development of these connections is expressed through
universal elements, such as coins, seals, terra-cotta figures and craft works."
Win has a
particular interest in the art and culture of the Pyu period (2nd/3rd to 8th century AD)
and the Pagan period (particularly the 11th to 13th centuries AD.) From these he has
drawn such symbols as Ganesh, nadi Bull, silver coins, Kinnari, Vishnu, Lakshmi, and
Buddha heads as well as sitting Buddhas and the use of gold leaf, which is common in
traditional Myanmar religious and temple architecture.
The geometric background surfaces function like color fields.
Filled with muted colors they rest in harmony and reflect those colors frequently found in
traditional Myanmar crafts, especially lacquerware. The abstract surface texture
recalls the tangled webs of Jackson Pollock or the gestural expressions found in
traditional Chinese ink paintings. Be it subject matter, context, or technique, the
juxtaposition of east and west exists in totality within Win's works.
Amit May Fine Arts