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Cambodian artist Sopheap Pich and June Yap, curator of No Country, talk about the origins and context of Pich’s practice. The artist describes the centrality of childhood memory to his work and its move from painting to sculpture. He also explains his use of rattan, his increasing interest in organic and abstract forms, and the place of his approach within a country over which modernism never exercised a significant influence. [March 2014]

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