Chath Piersath Quotes

Sometimes it may be something I hear in the news that affects me.

In Cambodian culture the male figure in the family is important; when you lose your husband you lose your economic ability to survive.

I think that through the narratives of other people you get closer to your own.

When you make art, those things change shape into something else. It's transformation into a body of different visual elements.

I liked museums but I wanted to be a dancer, I wanted to go into performing arts, or be a writer.

I think every person has a unique story to tell and we each have the different life events that happen to us and sometimes we may feel sympathetic toward a certain aspect of that life event.

Everything around you can use. It's like your tools and your material. Whether it's in performing arts like dance, or visual arts, or poetry, a lot of those elements can come and help you, can trigger your creativity. But you have to be open, be aware, and you have to be ready to look.

I tried to write poems in rhyme. I tried writing songs. Sometimes I jotted down a thought. I would keep a log of spontaneous thoughts.

I used to despair about the condition of the world, to feel a sense of hopelessness; now I find more and more that I need to focus on what I can do, however little it is, to help others.

In This Body Mystery, even though it was written in the voice of people with HIV/AIDS, it's about how people come to accept their fate and their sickness. It's about accepting the way your life is.

How am I placing myself in the world of other people around me? For me, I feel that I am not really alone, that others can feel it too. I see art in this way.

I think every writer has their waves of inspiration and their ways of doing things. But writing is very difficult for me. It's something I haven't practiced as diligently as my visual art. I've been doing visual art because I think it's easier for me to construct, whereas words are very difficult.

It's really hard when you read literature in a language that's not your own. There are all these cultural references you have to be born into that particular language to get.

There are multiple things entering in your mind.

Often when people tell their story, they talk about their strengths and resiliency. It's really about their determination and their aspiration to survive and live.

I started to paint in the year 2000. I never thought of going to an art school, even though I loved art.

Even though I'm not privileged in the money world, I'm privileged in other ways: I had greater access to education, I can travel, etc. It's the same with writing: the freedom to move in and out of different places, of different realms of existence, of different life forms.

Art is really about how you capture different things you see around you and bring them into forms and words and shapes and meaning.

I'd like to do more collaborations because collaboration creates different viewpoints.

You have to experiment with different mediums and things around you [making art].

A lot of my work is process-oriented. I delve into my work and sit alone in silence and work with the material and process it, like talking to yourself.

Whether I affect one person or an entire family, or even a group of people, I feel like I have resources and education and ability and skills that some people may not be fortunate enough to acquire. But by sharing and inquiring, being a listener, and being interested in the stories of other people and their lives, I can also pull things out and say "What can I do for them? What can I share with them that may alleviate some of their suffering?"

This is my first collaboration [with Mary Hamill] so I'm going to learn how it's going to work.

Every day you are bombarded by so many different things. When you sit down to process everything, it can become interesting visually. You can incorporate a lot of those things that you internalize.

Even if you look in the dictionary you know the meaning of the word or phrase, but there's still the feeling of it.

Mary's [Hamill] working from an outsider perspective and I'm working from an insider-outside perspective. In this case, it will bring an added dimension to the visual aspects of the work. Also the processes and approaches that I'm thinking are about learning. I'm playing it by ear to experiment and see what happens.

When you're reading from a different language that's different from your own, it's not the same as being fluent.

I've been coming to Cambodia off and on, six months of the year usually.

I have some advantages of viewing from the two lenses, the two perspectives. I think that a lot of visual artists who come back here from the United States and are Cambodian also write from their American references - looking inside the old culture, and looking at themselves as an American looking into the country where they were born.

It's like you're organically developing yourself, moving out, metamorphosing into other forms depending on where you are, what you're doing at the time, how you want to play on things.

I read a lot when I was in school in the United States, and even though writing in English is very difficult for me, I wrote in journals.

It's hard to choose the right word, the right line. This Body Mystery is a small book, but it took me over ten years.

When I was in the sixth grade my friend and I always won writing contests, and we read a lot of books. We were always the ones that read the most books in class. I thought about writing but visual arts weren't part of my vocabulary.

I don't approach my writing or my work from an academic or analytical point of view. I do it for myself.

I'm very connected to the story, the history, and the trauma people experience.

I write and I write and a lot of times I go back to the American lens, though sometimes it's a struggle to come from that perspective.

I'm doing a collaborative project with another artist, Mary Hamill. My project is to gather the oral history of war widows, starting with the women of my village, Kop Nymit.

All throughout my work, even in the United States, I have worked with the greater Cambodian community.

I have a great advantage: I write from the perspective of my own voice. I'm not copying anyone's voice. It's my voice. I have the advantage of being a writer of English as a second language.

Some people have witnessed the killing of their husbands, or they survived other horrific things. My sister is a widow but her husband was killed after the Khmer Rouge. There are different periods in which violence has occurred, and differences in how these women became widowed and how they survived afterwards.

The family I grew up in had three generations of widows.

When I hear Khmer poets, when they recite their poems, I know what they're talking about, I get it right away.

I thought of the pillowcases as a symbol of love and loss, of retaining the memory of your loved one.

For me, the more I understand the story of others, the greater I am able to learn and help other people.

I'm also developing my own narrative, because I'm the son of a widow. And so, while working with women and gathering their oral histories, I'm taking a step back to do my own art book and visual work.

I think there are things I can't write in English that I wish I could write in Khmer.

I met Mary [Hamill] in New York at my exhibition and when I told her about my oral history project she asked, "Would it be possible to incorporate visual art?" My sister stitches pillowcases, which led to Mary suggesting using cyanotype on them. I originally thought of the idea of pillowcases because when people get married, they have the bride and the groom lay their hands on each other's pillows while their relatives tie ribbons on their wrists. And then on the bed you usually have two pillows - one for yourself and one for your loved one - so when one is gone, one pillow remains.

If I were really fluent and born into the English language, I would probably become a greater writer.