Dear readers, after a long break, the interviews with Khmers with atypical backgrounds are back. We start in France, with a talented illustrator from the Essonne region, who is a regular presence in our diaspora for her creative work and her commitment to the community.
Here, then, is a more intimate portrait of SINATH BOU, who describes drawing as ‘an extension of herself’ and who considers that she has now reached a certain artistic maturity.
Having been born in the Paris region, in a city where there are few representatives of the Asian community, what was your childhood like?
It was pretty uneventful. Nothing in my rather benevolent - or detached - environment made me question my origins or my difference.
Cradled between two cultures, there's a very interesting anecdote in your household about your language learning. What is this story?
Each of our parents took on a particular role:
1. My mother only communicated with us in Khmer
2. My father only communicated with us in French.
This form of learning was particularly beneficial for me, the eldest of four siblings.
On a day-to-day basis, the food is still mainly Khmer. Do you have any unusual memories of this cuisine?
PRAHOK without a doubt! Because of the combination of its strong smell and its special taste that I love so much.
Your relationship with the Srok remained hazy during your childhood. What was your vision of the country?
It was created around our painting of Angkor Wat and the representations we had of the Apsara dancers, as well as by the altar in our home. The radio (RFI) and my parents' music too. My ideas about the rest of Srok remained very vague, apart from its geographical position.
Your father's modesty, combined with an obvious desire to protect you, meant that for a long time you were kept in the dark about the dark history of our kingdom. Would you have liked to know a little more at that time?
In my heart of hearts, my desire remained omnipresent. But the few moments of sharing between my father and me, mainly due to his busy job, gave me little opportunity to satisfy that desire.
When you're young, you don't have much contact with the outside world. So you developed an unconscious, even unexpected, relationship with Japanese culture. Tell us about it!
As a member of the Club Dorothée generation, this programme was the definitive trigger for my curiosity about manga and anime. It became my ‘frame of reference’ for my curiosity about Asian culture as a whole.
From this infatuation grew my passion for drawing, starting with the reproduction of the characters I discovered on television. But I also developed a real attraction (shared with one of my younger brothers) to Japanese pop.
These interests often led me to be mistaken for Japanese by those around me, who knew very little about Asia in general at the time.
Your spiritual side is also very present when we talk to you. Could you tell us where this comes from?
The irony of this question is that its number is 7, which to me has a highly spiritual connotation. Otherwise, when I was growing up, this aspect was felt more in our practice of Buddhism, particularly with the blessing and purification with holy water at the start of the New Year.
Later, your artistic side - until then considered a passion - suddenly took on greater importance. What happened in 2011?
I was regularly expressing this passion on forums, but also through a blog that I had created at the time, until one day a publisher of children's books spotted one of my characters. He asked me to illustrate a trilogy. I officially became an illustrator.
You then went through a latent period, which led to new creative revelations. Tell us about it!
After a period when introspection took over from creation, a revival led me to change my drawing style. From then on, it would be more minimalist, mostly in ink, and expressed more according to my desires and not according to an automatic performance.
Then came your encounter with Khmer classical dance. Can you tell us more about this new step?
After a series of unexpected encounters, I found myself trying out a classical Khmer dance class at TEP MONOROM and the emotional sensation I experienced on that first try was indescribable. I've been doing it regularly ever since.
What has this environment brought you so far?
Since then, this practice has allowed me to blossom and reconnect more deeply with my roots.
Today, your identity as an artist has obviously evolved; when we talk to you, we feel an obvious serenity. What are you most excited about now?
My artistic expression is now expressed through my own creativity, and through collaborations with other artists, by exploring their worlds while incorporating my own.
What are your favourite projects in your career?
1. Producing brochures for L'ORÉAL
2. The CARNET DE THÉO trilogy, my 1st book
3. LIVE performances
What would you like to achieve in the future?
My 3 greatest wishes would be :
1. illustrate books related to Khmer culture
2. to design designer clothes
3. transform my illustrations into animations
Do you have any advice for young artists?
Always listen to your heart, develop your curiosity as much as possible, learn, but also unlearn, and persevere.
Interview by Chantha R (Francoise framboise)
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