Sopheap Pich

Rang Phnom Flower

December 8, 2016 — February 4, 2017


ENLARGE

Rang Phnom Flower, 2015

bamboo, rattan, metal wire, plywood, steel, metal bolts

325 x 180 x 65 in. (825.5 x 457 x 165 cm) approximate

ENLARGE

Rang Phnom Flower No. 6, 2016

rattan, metal wire

111 ½ x 67 x 22 in. (283 x 170 x 56 cm) approximate

ENLARGE

Installation View of "Rang Phnom Flower" at Tyler Rollins Fine Art, December 8, 2016 - February 4, 2017

 

 

ENLARGE

Installation View of "Rang Phnom Flower" at Tyler Rollins Fine Art, December 8, 2016 - February 4, 2017

 

 

ENLARGE

Installation View of "Rang Phnom Flower" at Tyler Rollins Fine Art, December 8, 2016 - February 4, 2017

 

 

ENLARGE

Installation View of "Rang Phnom Flower" at Tyler Rollins Fine Art, December 8, 2016 - February 4, 2017

 

 

ENLARGE

Installation View of "Rang Phnom Flower" at Tyler Rollins Fine Art, December 8, 2016 - February 4, 2017

 

 

Works

INSTALLATION VIEWS

ABOUT THE EXHIBITION

Sopheap Pich: Rang Phnom Flower, taking place from December 8, 2016, through February 4, 2017, marks the debut of Tyler Rollins Fine Art’s newly expanded gallery space and features Sopheap Pich’s large scale Rang Phnom Flower sculpture. Around 25 feet in length and extremely complex in its construction, the work is Pich’s most ambitious single-form sculpture to date. It was first exhibited in early 2016 at the Albright-Knox Art Gallery, Buffalo, in For the Love of Things: Still Life, where it was shown alongside works by artists ranging from Picasso to Warhol and Mapplethorpe, selected predominantly from the museum’s renowned collection. At Tyler Rollins Fine Art, it is presented together with a new, smaller scale work by Pich that explores the same flower motif.

The works in the exhibition are all inspired by the vine-like flower clusters of the cannonball tree (“rang phnom” in Khmer), which has a strong cultural resonance within Cambodian culture and a personal significance for the artist. In Southeast Asia it is associated with the sal tree under which Buddha was born, and it is often planted near Buddhist temples. In fact, however, it originated in the Americas and was introduced by Europeans to Sri Lanka, where it was soon revered for its resemblance to the sal tree, which does not grow in tropical climates. It was then brought to Southeast Asia by Sri Lankans, who were responsible for the revitalization of Buddhism in that region. Many cannonball trees can be found around the Buddhist temples near Pich’s studio on the outskirts of Phnom Penh, and he became fascinated with the muscular, architectonic qualities of the flowers, as well as the sensuously flowing lines of the vines. His monumental Rang Phnom Flower sculpture is composed of hundreds of strands of rattan and bamboo shaped into interlocking grids and circular elements, the precise geometry of which contrasts strongly with the baroque contortions of the vegetal forms. Rendered in an enormously oversized scale, the flowers and vines dwarf the viewer, confronting him with the mesmerizing beauty and overwhelming power of nature. The work follows up on Pich’s widely exhibited 2011 Morning Glory sculpture, now in the permanent collection of the Solomon R. Guggenheim Museum, which was featured in his solo exhibitions at Tyler Rollins Fine Art (2011) and the Metropolitan Museum of Art (2013), and also shown at the Guggenheim Bilbao and Singapore’s Centre for Contemporary Art.

Pich is widely considered to be Cambodia’s most internationally prominent contemporary artist. Born in Battambang, Cambodia, in 1971, he moved with his family to the United States in 1984. After receiving his MFA from The School of the Art Institute of Chicago in 1999, he returned to Cambodia in 2002, where he began working with local materials – bamboo, rattan, burlap from rice bags, beeswax and earth pigments gathered from around Cambodia – to make sculptures inspired by bodily organs, vegetal forms, and abstract geometric structures. Pich’s childhood experiences during the genocidal conditions of late 1970s Cambodia had a lasting impact on his work, informing its themes of time, memory, and the body. His sculptures stand out for their subtlety and power, combining refinement of form with a visceral, emotive force. His work has been featured in numerous international museum exhibitions and biennials in Asia, Europe, Australia, and the United States. His Wall Reliefs series debuted in a room sized installation at Documenta in 2012; and other biennials include the Moscow Biennale (2013), Dojima River Biennial (2013), Singapore Biennale (2011), Asian Art Biennial (2011), Fukuoka Asian Art Triennale (2009), and the Asia-Pacific Triennial of Contemporary Art (2009). His highly acclaimed solo exhibition at the Metropolitan Museum of Art, New York, entitled Cambodian Rattan: The Sculptures of Sopheap Pich, was the museum’s first solo show given to a contemporary Southeast Asian artist. According to Art in America, the exhibition “can be regarded as a cameo retrospective, since its 10 works accurately reflect the range of the artist’s motifs from 2005 to late 2012.”

Pich’s work is included in such major museum collections as: Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; M+, Museum for Visual Culture, Hong Kong; Singapore Art Museum; Queensland Art Gallery; San Francisco Museum of Modern Art; Albright-Knox Art Gallery, Buffalo; and the Cleveland Museum of Art. Reviews and feature articles about Pich have appeared in such publications as Artforum, Art in America, ArtNews, Art Newspaper, Asian Art News, Flash Art, New York Times, Orientations, Wall Street Journal. In 2014, Art Asia Pacific called Pich “the Southeast Asian artist to watch at the moment.”

ABOUT THE ARTIST

Sopheap Pich →

ADDITIONAL INFO

Press Release

EXHIBITION REVIEWS

GENERAL PRESS

The Cambodia Daily Sopheap Pich

February, 2017


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The Phnom Penh Post, In the studio with Sopheap Pich

February, 2017


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Ackland Art Museum Press Release, Ackland Art Museum Reimagines – and Reinstalls – Galleries of Asian Art

December, 2016


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Art Asia Pacific, Animate Bodies of Work

March, 2016


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The New Yorker, Sopheap Pich

December, 2015


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Artinfo, Sopheap Pich’s “Structures” at Tyler Rollins Fine Art

November, 2015


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Art Basel Year 46

2015


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Art Loft, Why Southeast Asian Art Now?

December, 2014


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Indianapolis Museum of Art, A Contemporary Spring at the IMA

2014


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Bird, Sopheap Pich

2014


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Art Asia Pacific, No Country: Contemporary Art for South and Southeast Asia

2014


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Blouin Art Info, Rattan to Revolutionary: “Collection+ Sopheap Pich” at SCAF Sydney

October, 2013


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ABC Radio Australia, Cambodian sculptor draws on rural influences in Australian exhibition

October, 2013


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Dojima River Biennale 2013

July, 2013


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The Boston Globe, Showcasing a continent’s art at Smith College

May, 2013


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The New York Times, Cambodian Rattan: The Sculptures of Sopheap Pich

May, 2013


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Art in America, Woven into History

May, 2013


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Time Out New York, Ten sculpture exhibitions you should see

May, 2013


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Metropolitan Museum of Art, Cambodian Rattan: The sculptures of Sopheap Pich

May, 2013


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Orientations, Cambodian Rattan: Memory and Place in the Art of Sopheap Pich

May, 2013


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The Economist, Out of adversity

April, 2013


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The Wall Street Journal, Cambodian Art Rises From the Ashes

April, 2013


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The New York Times, Dancing Well Is the Best Revenge

April, 2013


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Gallery Guide, Cambodian Rattan: The Sculptures of Sopheap Pich

April, 2013


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Asian Art Newspaper, Sopheap Pich

April, 2013


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The New Yorker, Metropolitan Museum

March, 2013


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Blouin Art Info, Asia-NYC

March, 2013


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Smith College Museum of Art – New Acquisitions

February, 2013


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Sculpture Now, Handmade

2013


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Documenta (13) The Guidebook

June, 2012


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Art Asia Pacific, Where I Work

May, 2012


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Invisible Cities exhibition at Mass MOCA

April, 2012


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Modern and Contemporary Southeast Asian Art, Of Trans(national) Subjects and Translation: The Art and Body Language of Sopheap Pich

2012


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The Seattle Times, Cambodian artist evokes tumult of his homeland

November, 2011


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The Stranger, A Weightless Series of Cages

November, 2011


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Compound at the Henry Art Gallery

November, 2011


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Meditation: Asian Art Biennial 2011 catalogue

November, 2011


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The Art Newspaper, The rebuilding of Cambodian art

October, 2011


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The Examiner San Francisco, Modern ‘Buddha Presence’ at Asian Art Museum

September, 2011


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Sculpture, Sopheap Pich: Return to Cambodia

September, 2011


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Thailand Tatler, Woven Narrative

July, 2011


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Art Journal, Art without History? Southeast Asian Artists and Their Communities in the Face of Geography

July, 2011


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The Wall Street Journal – Icons, A River View Reshapes a Sculptor’s Work

April, 2011


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The Wall Street Journal – Scene Asia, A Dream Weaver Goes Global

April, 2011


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Artforum, Singapore Biennale 2011: Open House

April, 2011


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The New York Times, Definitions of Home at the Singapore Biennale

March, 2011


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The Wall Street Journal – Scene Asia, Open House at the Singapore Biennale

March, 2011


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Singapore Biennale 2011: Open House

March, 2011


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Treasures (Asian Art Museum of San Francisco Magazine), Here/Not Here

January, 2011


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International Herald Tribune, Cambodian Art Emerges From Horrors of a Murderous Past

December, 2010


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Artforum, Best of 2010

December, 2010


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bob, Sopheap Pich

April, 2010


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Art News, Review of “The Pulse Within” at Tyler Rollins Fine Art

February, 2010


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Artforum, Sopheap Pich

February, 2010


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The Luxury channel, 8 Asian artists to watch

February, 2010


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Classic Contemporary: Contemporary Southeast Asian Art from the Singapore Art Museum Collection

January, 2010


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Art Asia Pacific, The Pulse Within

January, 2010


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Flash Art, Sopheap Pich

January, 2010


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Classic Contemporary Catalogue

January, 2010


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The 6th Asia Pacific Triennial of Contemporary Art

December, 2009


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Truly Truthful exhibition (Miami)

December, 2009


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examiner.com, Sopheap Pich’s “The Pulse Within”

December, 2009


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Artforum.com, Sopheap Pich at Tyler Rollins Fine Art

December, 2009


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Dossier Journal, The Pulse Within – Sopheap Pich at Tyler Rollins

November, 2009


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The 4th Fukuoka Asian Art Triennale, Sopheap Pich

September, 2009


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Asia Art Archive, Interview with Sopheap Pich

April, 2009


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International Herald Tribune, A coming of age for Cambodian artists

March, 2009


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Sphere Asia, The New Weave

March, 2009


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C-Arts, Cambodian Art: Opening the Box

March, 2009


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Art Asia Pacific, Tidal, Sopheap Pich

March, 2008


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Strategies from Within

January, 2008


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Flash Art, Reviews: Sopheap Pich at the H Gallery in Bangkok

November, 2007


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World Sculpture News, Speaking To The Past And The Present

September, 2007


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Frieze, Sopheap Pich

September, 2007


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Real Time, New art, new Cambodia

April, 2006


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Art Asia Pacific, Sopheap Pich: Rotin/Pdow

March, 2005


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