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.

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.

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.

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

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.

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

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