Co Thiee

Artist Story

Co Thiee was born in Yangon in 1963. As a highly regarded professional painter and designer, his works has been shown in more than 20 local and international group exhibitions. He creates art to express different feelings about religion. His works explore the idea of “meritorious deeds”. His aim is to share the feeling of happiness and meritorious deed in others. He sees a sense of serenity in monks and nuns, and he strives to recreate this feeling through portraying them in daily situation. He said, “We forget that monks and nuns are humans too, but through the practice of meditation and mindfulness, they exude an aura of peace and happiness that other people can feel when they see them.”

 
Awards
Second Prize at Myanmar National Portrait Competition 2011, River Gallery, The Strand Hotel, Yangon, Myanmar
 
International Exhibitions
2004 – ACD Group Show, Singapore
2010 – Myanmar Art Centre, Group Show, Singapore
2014 – ‘Politics, Business and Human Rights’ Group Exhibition, Murdoch University
2014 – ‘Painting Myanmar’ Ten Perspective on a Changing Country, Hong Kong Baptist University
2015 – ‘Myanmar in Motion’, Shanghai, China
 
Group Exhibitions
1992 – 2nd Illustrator Group Show, Yangon
1993 – 3rd Illustrators Group Show, Yangon
1994 – 4th Illustrators Group Show, Yangon
1996 – White Line Gallery Group Show, Yangon
1996 – New Interior Design with Charl Orchad (UK), Yangon
1997 – New Interior Design with Charl Orchad (UK), Yangon
1997 – Orient Art Gallery Group show, Yangon
1997 – Art Club Gallery Group Show, Yangon
2004 – Inner Light Contemporary Art Group Show, Yangon
2005 – Bogyoke Market Group Show, Yangon
2006 – Mind of the Line Group show, Yangon
2006 – Myanmar Un-trying Art Show, Yangon
2006 – Colour House Art Group Show, Yangon
2006 – Yae Na Tha Group Show, Yangon
2007 – Myanmar Graphic Art Show, Yangon
2008 – Illustrator Art Group Show, Yangon
2010 – Art Garden Group Show, Yangon
2011 – Myanmar National Portrait Competition, Finalist Exhibition, Strand Hotel, Yangon

S Moe Z

Artist Story

Since first time I set eyes on Moe Z’s works, I have witnessed a heartening evolution over the years. His powerful and politically charged works are sought after in American and European art centres. Born in 1977, Moe Z graduated from the State School of Fine Art in the year 2000.
 
The dominant presence of monks and nuns in unity evoke memories of the tumultuous times when segments of the country’s Buddhist establishments where involved in the civilian upsurge against the militant junta. It is as such heartening to see that over the years, like the country, Moe Z’s works are beginning to show signs of hopes and optimism, with the latest works featuring a young novice in hopeful prayer against a backdrop of illuminating light.
 
“I appreciate the value of light. Because of light, we can feel and see all objects. In my paintings, I always paint darkness in order to appreciate the light. Without light, everything is impossible. The darkness in the paintings represents suffocation in this country where most people are struggling to survive. There is a little hope, which is like a dim flickering light. The main feature of my composition is this contrast between darkness and light. The subject of my work – monks and nuns – is almost incidental.” – S Moe Z
 
International Exhibitions

2007 – Art from Myanmar, Group Show, New York, USA
2009 – Myanmar Discovered, Group Show, HK
2010 – Myanmar Art & Culture Lecture, Group Show -Boston, USA
2010 – New Beginning Group show, Princeton, USA
2011 – Gallery Verde, Group Show, New York, USA
2011 – Five Myanmar Painters, Group Show, Kingstion, USA
2011 – Eye on Burma Group Show, the East Gallery, Toronto, Canada
2012 – Burma Rising, Group Exhibition, NY, USA
2012 – Anniversary Art Show of the East Gallery, Toronto, Canada.
2013 – Wonder in the Land – Group Exhibition, The East Gallery, Toronto, Canada
2014 – Burmese Spring at First Canadian Place Gallery, Toronto, Canada
2014 – Leading Lights/New Works, ARTA Gallery, Toronto, Canada
2014 – Burmese Spring; at Fragrant Wood Gallery, Toronto, Canada
2014 – Funf Kontinente Museum – Group exhibition, Munich, Germany

Group Exhibitions
1998 – 14 Faces Art Exhibition, Orient Art Gallery, Yangon
1998 – Mother’s day Exhibition, Yangon
1998 – New Plantation Group Show, National Museum, Yangon
1999 – New Nursery Art Show National Museum, Yangon
2001 – New Nursery Art Show Group Show, Yangon
2002 – Unity Art Show, Yangon
2004 – The Breeze Group Show, Yangon
2007 – 99 Classic, Lokanat Gallery, Yangon
2008 – 99 Classic, Thamada Hall, Yangon
2008 – Art Field, Group Show, Yangon
2009 – Art Field, Group Show, Yangon
2010 – 99 classic group show, Yangon
2010 – Art Field, Group Show, Yangon
2011 – Kayin Art Exhibition, Group Show, Yangon
2011 – To the Beach Art Show, Cyan Bay Art Gallery, Ngapali Beach, Rakhine State
2011 – Finalist for Best painting of the Year Exhibition, Yangon
2011 – Dancing Hue Art Show, Bogyoke Market, Yangon
2012 – July Image Art Exhibition, Taw Win Center, Yangon
2012 – Impressive Art Exhibition, Art Plus Art Gallery, Yangon
2012 – Kayin Diary, Art Exhibition, Group Show, Yangon
2013 – Color Rain Art Show (Orient Art Gallery)
2015 – 3rd Northern Breeze Group Art Exhibition, Myanmar Artists Organization, Yangon

Win Tint

Artist Story

Born in Pyinmana, Myanmar in 1966, Win Tint is a highly respected art teacher in Myanmar. His works are in the collection of Myanmar’s National Museum. As disciple of renowned Myanmar Impressionist artists – U Lun Gywe, Win Tint feels that while he can teach the techniques of painting to his students, he cannot impart the sense of feeling of art. At first glance, the patterns of lines, brushworks, figures, space and forms, evoke impressionist artworks that are realistic but at the same time dreamlike in emotion. In these ‘vast’ spaces, the clarity and blurriness, the light and shade, of dissolving colours create a serene beauty that is in contrast with the usually crowded Shwedagon Temple from which the paintings derive its inspiration.
 
Win Tint recounts a time when a friend after viewing his collection of works, suggested that he paints something other than monasteries and pagodas. He calmly replied to his friend “You still haven’t seen what I paint.”
 
Awards

Myanmar Contemporary Art Awards 2004 (Finalist)

Solo Exhibitions

2004 – First Solo Exhibition, Lokanat Gallery, Yangon
2006 – Outstanding Light, Lokanat Gallery, Yangon
2012 – Win Tint Solo Art Work, Culture Bridge Gallery
2013 – Light and Gold, Lokanat Gallery, Yangon

Group Exhibitions

2001 – New Nursery Art & Sculpture Exhibition, National Museum, Yangon.
2003 – Page 2003, Contemporary Art Show, Yangon, Myanmar and Hong Kong
2004 – Myanmar Contemporary Art Award 2004
2008 – Donation for Nargis Art Show
2008 – U Thu Kha, Memorial 2008
2009 – My Collection Art Exhibition, Myanmar Art Center
2009 – My Favourite Art Exhibition, Myanmar Art Center
2009 – Truth, Beauty, Joy, Contemporary Paintings Myanmar Art Center
2010 – The Arts Gate Art Exhibition
2010 – Myanmar Art & Culture Lecture, Group Show -Boston, USA
2010 – New Beginning Group Show, Princeton, USA
2010 – Spectrum Art Exhibition, IBC, Yangon.
2011 – The Art Gate Art Exhibition
2011 – Shwe Generation Art Exhibition
2011 – Water Color Painting Art Exhibition
2011 – The Friend Art Exhibition
2011 – November Art Exhibition
2011 – Empathy Art Exhibition
2012 – The Art Gate Art Exhibition
2012 – Charity Art Exhibition, Marketplace, City Mart
2012 – Impressive Art Exhibition, Art Plus Art Gallery
2013 – 20th Year Orient Art Gallery Show, Yangon
2014 – Color Palette Art Exhibition, Lokanat Gallery, Yangon
2015 – Colour Image, Group Art Exhibition, Lokanat Gallery, Yangon

MYANMAR IN MOTION

A nation shut from the world, slowly opening its door
Ruled by a military regime with no rule of law
With minorities subjugated, majority oppressed
In a state of flux, of change, of unrest
Golden rays of Pagoda, pierce through the clouds
Is it the thousand protests or the silent prayers
That brought the change about
Led by a lady of noble peace…of extraordinaire
After decades of isolation, hope is finally in the air

Today, Myanmar’s artists and intellectuals are pushing boundaries of creative self-expression. Writers are giving readings at literary festivals. Musicians are fusing hip hop with traditional music, and painters are revealing works that for decades could be shared only with trusted friends.

“Myanmar in Motion” presents a specturm of exciting works by both masters and emerging artists. Together, their works have been shown in major cities such as Boston, Hong Kong, New York, Munich, Singapore and Toronto.

Of the works presented, some are openly political, other story the individual. And although Buddhism’s influences is evident in most of the works, but to burnish them merely as such, is to benign the torrent of different forces and movement sweeping across the nation and that the artists are capturing probably one most significant moment in history of Myanmar. Be a witness of a nation in motion.

As a highly respected art teacher in Myanmar’s leading art institution, Wint Tint feels that while he can impart the techniques of painting to his students, but he cannot teach the sense of feeling of art.

At first glance, the patterns of lines, brushworks, figures, space and forms evoke impressionist artworks that are strikingly realistic but at the same time dreamlike in emotion. In these ‘vast’ spaces, the clarity and blurriness, the light and shade, of dissolving colours create a serene beauty that is in contrast of the usually crowded area of the iconic Shwedagon temple of which the paintings get its inspiration from.

Wint Tint recounts a time when a friend after viewing his collection of works, suggested that he painted something different rather monasteries and pagodas. His calmly replied to his friend “ You still haven’t seen what I paint”.

Maw Thu Danu chooses to compose his works through the reflection of glass and mirrors so as to literally ‘reflect’ upon on the social, political and economic development in his country. The modern store window sprouting on the perimeters of ancient places of worship are no mere evidence of the growing wealth in Myanmar. In the eyes of Danu, they serve as his medium on which he expresses his concern on the impact of capitalism and consumerism on his beloved country. As much as he appreciates the benefits of economic growth on improving the living conditions of his people, he is equally concern about the cost of rapid development. He certainly hopes that people appreciates the visual aesthetic of his works of reflection, but more importantly, he wish that they will also perhaps take a moment to reflect upon the reflection within.

Khin Muang Zaw leads the new wave of water colourists that are emerging from Myanmar. Khin Muang Zaw’s superior skill in watercolor is apparent in his detailed pattern of intricate architecture, creases and folds of the fabric as well as the play of light and shadow. His breathtaking watercolor on paper observes the daily scenes young novices going about daily monastic life.

In this body of work, the artist pays homage to Buddhism, which, for generations, has been an integral part of Myanmar’s culture. More importantly it is the strength from which the people draw upon to survive the decades of economic hardship and political oppression.

Since first time I set eyes on Moe Z’s works, I have witnessed a heartening evolution the years. His powerful and politically charged works are sought after in American and European art centres. The dominant presence of monks and nuns in unity evoke memories of the tumultuous times when segments of the country’s Buddhist establishments where involved in the civilian upsurge against the militant junta. It is as such heartening to see that over the years, like the country, Moe Z’s works are beginning to show signs of hopes and optimism, with the latest works featuring a young novice in hopeful prayer against a backdrop of illuminating light (see 1st page of this press release).

“I appreciate the value of light. Because of light, we can feel and see all objects. In my paintings, I always paint darkness in order to appreciate the light. Without light, everything is impossible. The dark in the paintings represents suffocation in this country where most people are trying to survive. There is only a very little hope, which is like a dim flickering light.
The main feature of my composition is this contrast between dark and light. The subject of my work – monks and nuns – is almost incidental” A Moe Z