Born 1955 in Phnom Penh.
Studied in Hungary at the l’Ecole Normale Superieure de l’Education in 1985.
Got MBA degree in the Arts at Academy of Fine Arts, Budapest in 1994.
He mostly paints with oils, and has exhibited extensively in Southeast Asia as well as in Hungary.
He has worked as Director of Arts and Handicrafts Department at the Ministry of Culture and Fine Arts and Teacher in the Faculty of Fine Arts in Phnom Penh. Now he got retired and is working at his studio in the Ministry of Culutre and Fine Arts.
The beauty of SUOS Sodavy’s work is the ethereal mood he conjures on canvas, like fine brownish sand on the beaches of time. His Khmer images are not done in the traditional Cambodian style, yet he is able to capture their vital spirit and essence.
Sodavy was recently given a prestigious award “Venerable Artist of the Year 2016” by Mahasarakham University in Thailand.
His work is characterised by a diversity of styles, often generating spontaneous and gestural abstract painting, and simultaneously generating, skilful and well balanced, traditional painting. He often incorporates mythical characters into his works with an anachronistic explosion of colour. “I am like a monk searching for Wisdom” he has been quoted as saying
2014 : Our City Festival group artist, Phnom penh
Joined a Workshop of the Indochina Fine arts Association, Hanoi, Vietnam
Abstraction exhibited at New art gallery (paintings and photography),
Fine arts workshop and exhibition among Cambodia, Vietnam, Laos,
Thailand and Japan’s artists at University of Fine arts of Ho chi minh city,
Transition group artist show at Meta house(German cultural center),
2013 : Construction and Destruction Group Exhibition at Java Art gallery,
Vision 2 at Tamarind Bar, Phnom penh
Nature and Life at Insider gallery, Intercontinental Hotel, Phnom penh
2012 : Meta house, Phnom penh
French Institute for 20th anniversary group artists
Art Creative between Cambodia and Vietnam 2012, Vung Tau, Vietnam
5th Beijing Internationl Biennale for Art and Culture 2012, Beijing, China
2011 : Lost Room, Phnom Penh
Van’s Restaurant, Phnom Penh
Tamarind Phnom Penh Street 240, Phnom Penh
2010 : Reyum Art Institute, Phnom Penh
ASEAN Sovereign Art Prize, Hong Kong
4th Beijing International Art Biennale 2010, China.
Equinoxes, Phnom Penh
Hotel de la Paix, Siem Reap, Cambodia
2009 : Art Sovereign, Hong Kong
Chinese house, Phnom Penh
Landmine Art, UNDP Phnom Penh
Beyond Abstract, Meta house, Phnom Penh
Pharmacy Arts, Meta house, Phnom Penh
Exhibition Center Hang bay, Hanoi, Vietnam
2008 : Beijing International Art Biennale, China
Tembi Joyagarta, Indonesia
Meta house, Phnom Penh
Amansara Hotel resort, Siem Reap
2007 : Meta house, Phnom Penh
French cultural center, Battambang
Embassy of Singapore, Phnom Penh
2 fishes Art Gallery, Phnom Penh
Salt Loung, Phnom Penh
2006 : Art 2 Gallery, Singapore
Visual Art Open (VAO), Phnom Penh
Carnet d’ Asie, Siem Reap
Elsewhere, Phnom Penh
ICOM Phnom Penh, Vientiane, Laos
New Art Gallery, Phnom Penh
2005: Victoria Hotels and Resorts, Siem Reap, Cambodia.
2004: Fealac Art Exhibit Guidelines in Manila, Philippine.
2004: French Cultural Center Phnom Penh, Cambodia.
2004: Maison du Chevalier, Carcasonne, France.
2004: Ganesha Gallery, Phnom Penh, Cambodia.
2003: “Vision of Future”, Reyum Gallery, Phnom Penh, Cambodia.
2003: 60th Celebration of Silapakorn University, Bangkok, Thailand.
2003: Le Royal, Raffles International Hotel, Phnom Penh, Cambodia.
2002: Providence College, Rhode Island, USA.
2002: French Cultural Center Siem Reap, Cambodia.
2002: National Cultural Center, Phnom Penh, Cambodia.
2004: 1st prize of Painting (Future of Culture), Phnom Penh, Cambodia.
2003: 1st prize of Painting (Life and Nature), Ministry of Culture and Fine Arts, Phnom Penh, Cambodia.
2003: 2nd prize of “Utopies, Dream or Reality”, French Cultural Center, Phnom Penh, Cambodia.
2000: 1st prize of traditional painting by the Plastic arts and Crafts Department, Phnom Penh, Cambodia.
ASEAN Art Awards, Singapore, Phillip Moris Group
2011 : A Royal Congratulation Letter from his majesty the king Norodom Sihanouk
2007 : Gold medal of Artwork from Prime Minister Samdach Hun Sen
2006 : Special Certificate From his Majesty the king Norodom Sihanouk
Sing a song to me so I know the tune of your heart
I love your eyes when the love light lies
Lit with a passionate fire.
painting by: heng monyphal
National Tree: The Sugar Palm
A tree which gives out a juice to get you pissed – I waxed lyrical about this in another article last year and I can’t be arsed to do it again. Great tree, great laxative, and useful for about a gazillion other things. Not so endangered, but beats the much sought after rosewood tree (good enough to get shot at by Thai commandoes for) and favourite precursor choice for 90s ravers, with a passion for arbophilia and techno, the sassafras.
painting by Heng monyphal
National Flower: Rumdoul Mitrella mesnyi (wrong) Sphaerocoryne affinis (correct)
His Royal Highness The King is also said to be a floral aficionado, and gave the common rumduol the honour of a royal decree and rank of national bloom. This fragrant member of the soursop fruit family is highly regarded in these parts for its aroma, strongest in the early morning and evening, and grown all over the place to try to mask the smell of cow dung and smoldering plastic. Districts are named after it, scented candles are made from it and beautiful Cambodian ladies are compared to it, like a summer’s day.
Next time I have a cup of tea and a fairy cake with himself, I’m going to make a few more suggestions to beef up the list, however I’m still undecided on some of the catagories.
painting by: Heng monyphal
The presence of ox carts was highlighted in India in the Vedic era, between 1700 and 700 BC, by handwritten manuscripts such as ideological, religious and technical texts, or war rules. In India, there are two ox carts – cow carts for transport and horse cart for warfare. Both carts have been carved on stone since 125 CE.
“According to the Indian Ministry of Culture and Fine Arts, under the Ministry of Culture and Fine Arts, according to the inventory of the cart, the shape of the chariot changed in every age, using only the same two-wheeled bicycle. Under the influence of Indian culture, the Indians in the Funan Empire borrowed Indian vehicles from the first century of Christian Era. Popular with the Khmers, most of them farmers, the use of ox carts or buffaloes has been initiated since the 1st century CE and has continued to date.
“Under the prehistory of Angkor, as in Angkor, Cambodian oxcartry plays the most important role in Khmer society,” he underlined. This ox cart is not only in transportation and social affairs but also in the religious sphere. Through the 12th century Angkorian sculpture of the Christian era, we see clearly that the chariot that Suryavarman II stayed on was a symbol of the sun or the sun, symbolizing his dynasty. On the other hand, military rhetoric, such as in the scandal, in Mahayana, or in Buddhism, is also seen as a charisma.