Bart Was Not Here

Imagine a conversation that ranges from The Life of Brian to the modern Burmese Sangha, from The Godfather to trashy Burmese style romance movies, from Eminem to Ashin Wirathu… and lots more in between. That is the discussion that follows with the artist, "Bart Was Not Here." Bart employs an unpredictable blend of classical influences with modern, often Western pop influences in support of his main underlying theme: social commentary on contemporary Burmese society.

Bart’s primary artistic inspirations specialized in “worldbuilding”—the creation of a unique world, with all the elements of that world, believable—and that is his own creative motivation. As one might imagine, the present situation has deeply affected Bart, both as a Burmese citizen, and an artist, and he has used his artistic talent to support the movement. His works this year are strong, artistic statements on his feelings about the current situation.

Perhaps surprisingly, though, Bart did not intend any of these pieces as “political statements,” per se. He views this artwork as a kind of diary about the protest movement. One of his most well-received recent works is a rendition of a photograph of a military truck being attacked and bursting into flames. For Bart, like for so many Burmese, this moment was the first time that the bully who had been terrorizing them had finally been finally punched in the nose. 

Staying true to his artistic inspirations, Bart continues to temper his driving home of powerful messages with a sideswipe of parody or satire. Hs explains that humor exposes the generals not as karmically-endowed divine leaders, but rather poorly-educated, deteriorating old men.