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“Ceramics
from Lor Pok”
Opening reception,
December 14, 2000
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Fired
earth objects have been made in the region which we today call Cambodia
since well before the start of the common era. We can identify two
sets of contemporary practices that continue within this long-standing
tradition. Through the first, earthenware objects used in everyday
local life are made and sold by villagers, particularly in the region
of Kompong Chhnang. The ka-am (water pot), the chhnang (cooking pot),
and the chang-kran (cooking stove) are made by families who produce
as many of these vessels as possible, replicating the given shapes
and standard decorations of their familiar forms. The second aspect
of the Khmer ceramics tradition is often associated with the age of
Angkor when glazed ceramics of high quality and varying color and
shape were produced. These are the objects which most often today
lay claim to the label of "Khmer ceramics" within the realm
of "art" exhibitions and publications. Thus the hierarchy
of value is imposed by which high art is distanced from utility. The
first category is still in local use and has a ready market among
local people thus forming an evident continuity with society. The
second category is more problematic since the objects it produces
reference another time and a purpose which is often not yet clearly
known. Thus these enigmatic objects find less ready local uses and
are produced almost exclusively by "Lor Pok" and by the
ceramics sections of the Royal University of Fine Arts. We have decided
to focus our exhibition on this second category of objects.
Lor
Pok was founded in the late 1990s by Chhun Pok, then head of the ceramics
section of the Department of Plastic Arts. Frustrated with some of
the restrictions of working within a state institution, Chhun Pok
decided to establish a private kiln in the village of his birth as
a compliment to his work at the University. Not only did Chhun Pok
wish to develop a line of new designs at his own kiln, but he also
hoped to eventually be able to provide employment for the villagers
once the kiln was successfully producing ceramics. Chhun Pok died
unexpectedly in August of 1998 at the age of 44. Today his sons and
a nephew continue to pursue his dream of Lor Pok.
We
have chosen to focus our exhibition on the activity of Lor Pok for
several reasons. We are of course implicated in the marketing of the
work which we chose to exhibit, and therefore we hope that this exhibition
will help Lor Pok to garner new commissions and greater recognition.
In doing so we wish to support those who continue to research and
produce ceramics in Cambodia today. We also however wish to raise
more uneasy questions. What are the ceramics being made at Lor Pok?
Are they art objects? High quality copies? Souvenirs? Or a kind of
high-end craft production aimed at tourists? Do the objects recognized
and certified as "Khmer ceramics" have any local use in
every day life in Cambodia, or are they produced primarily for a foreign
clientele who more often that not exhibit them as visual objects rather
than using them for their intended purpose? What impels Lor Pok to
search for "documents" of Angkorian ceramics and painstakingly
copy them as if to thus ensure a certain authenticity to their production?
Chhun
Pok lived with these questions. He knew quite clearly that he did
not have the luxury to make anything which would not find a market.
There was no opportunity to make large-scale unique pieces like ceramic
"artists" in the West. Rather, the market was for small-scale
objects made in multiples which stood in some relation to Angkor or
other established signs of Cambodian identity. Within these limits
however, Chhun Pok found a certain latitude. He took the ornaments
found on temples and wood sculptures and applied them to the surfaces
of his ceramics. He took a familiar "traditional" form,
the lotus bud, and made a new pierced ceramic lamp in its shape. With
such forms he hoped to establish a set of designs which he would make
in the village of his birth.
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