'Contemporary Cambodian artists have been unexposed for a long time. The Visual Arts Open (VAO) in December 2005 will be the occasion for these artists to face the public nationally and internationally. VAO is an attempt to strengthen artistic production and provide a more dynamic contemporary art scene in a country known only for its traditional aspect.

When people refer to arts (selapak) in Cambodia it generally means performing arts. The word visual art has yet to be recognised in the Cambodian concept. The translation of the term does not exist. We took the word chakok which means "eye", alluding to staring to define visual. The word samai refers to now or the present. We took the title Visual Arts Open to be precise in our aim in showcasing professional, and of professional qualities artists. VAO's purpose from the very beginning was to create a binding relationship between artists of different dimensions, connecting them to exhibiting spaces and vice versa, and to show the public the most creative minds working in the visual arts nowadays in Cambodia.

The team of Saklapel (the back slang of the word selapak) had embarked on an artists search - adventure that left us exhausted and inspired, to say the very least. We searched, travelled and met 20 visual artists of different generations to discuss their works and aspirations. Our idea was not to approach every artist with a fixed theme, something generally accustomed to by organisations. We felt that each artist was of a different background: some were self-taught, some studied at the Fine Arts School, and some had spent years in countries like Poland, Hungary, Russia, Việt Nam and France. The only main thing we had in mind was that all artists work in the subject of the present.

In all cases our first meetings took place at the artists' work space where we spent on average three to four hours discussing and seeing their works. Afterwards we scheduled another meeting to discuss on the best possible direction or subject for them - relating to their personal concerns or today's issues - to show at their best. For some artists that were already happy with their production we gave them full range to explore further their path.

What is so inspirational for us is having met at great length a well known self-taught artist like Svay Ken and finding his still-life (When I don't have stories to tell) as he puts it - also embodied the qualities of a special kind. Another exciting moment was discovering the work of Sa Piseth, who had just returned to Cambodia after spending 15 years in Poland studying sculpture: his sculptures are conceptual investigations of the highest order reflecting on Cambodian culture and history. While talking with Chhoeun Rithy about old buildings being destroyed for modernity's sake, Sin Sisamuth's song about two lovers being separated in an ancient temple came on the surface. Our artist sang every word as though he had written it himself. We knew then that the issues had touched something profound in him. These were only a few bright spots in our encounters - there were many other artists whose outlook toward their work has been shifted to what we feel has reached importance beyond what people would expect.

This proposal was received with great enthusiasm from the artists for we went to them as artists ourselves and not as NGO workers or private organisations. The relationship we established with these artists is based on the fact that we all live for art beyond any political, religious or institutional affiliations. VAO will feature 20 Cambodian artists who work and live in Cambodia. The artists represented by VAO will show that Cambodian art should be considered as contemporary art and not simply as a nationalistic endeavour or as representing ideas of exoticism.

Saklapel, through its website and future curatorial efforts seeks to exhibit the most prominent Cambodian artists in Cambodia and outside. It also hopes to create a sense of art community amongst visual artists.' (Curators' Statement, VAO 2005)