Saa-tshen on Rhay-shing, 63 3/4 x 65 5/8 inch
Saa-tshen on Rhay-shing, 63 x 63 1/4 in
Saa-tshen on Rhay-shing, 63 x 63 1/4
Saa-tshen on Rhay-shing, 58 x 58 in
Saa-tshen on Rhay-shing, 69 1/2 x 65 1/4 inch
Saa-tshen on Rhay-shing, 35 7/8 x 46 1/8 inch
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing, 24 x 24 inch
Saa-tshen on Rhay-shing, 36 x 54 1/8 in
Saa-tshen on Rhay-shing, 30 1/8 x 29 7/8 inch
Saa-tshen on Rhay-shing, 72 x 60 inch
The comfort of growing into the familiar and planned.
Saa-tshen on Rhay-shing, 72x 65 1/2 inch
The discomfort of discovering who we may be beyond the confines of who we think we are.
Saa-tshen on Rhay-shing, 67 1/2 x 70 inch
Saa-tshen on Rhay-shing, 77 x 65 1/2 inch
What would the child we were think about the person we are.
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing,
creating imaginary lines.
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing, 95 1/2 x 48 inch
Rise above, our reality is created with in the borders of our mind.
Saa-tshen on Rhay-shing, 69 1/2 x 63 1/2 inch
Saa-tshen on Rhay-shing,
A woman is empowered when she takes on the role of men. -2018
Saa-tshen on Rhay-shing, 63 × 69 inch
Traditional artists in Bhutan have remained anonymous through the centuries, leaving behind only their work to speak for their skill and dedication. They are also groomed into the rigid traditions that do not allow the artist to deviate from images and work taken from a master copy. Theft is a collage of blueprints taken from traditional artists to challenge the idea of ‘creator’; is it the creator of this piece, the creator of the blueprints, or the one who created the master print.
Saa-tshen on Rhay-shing
Technique: Tsapa
59.8 x 72 inch
The swastika, a sacred symbol that was taken from many ancient cultures and twisted to one of taboo and hate.
Saa-tshen on Rhay-shing, 70 x 60 in
Saa-tshen on Rhay-shing, 69 x 59 inch
Saa-tshen on Rhay-shing 61 x 66 in
Saa-tshen on Rhay-shing, 63 x 70 1/2 in
Saa-tshen on Rhay-shing, 61 x 66 in
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing, 69 1/2 x 64 1/2 in
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing
Saa-tshen on Rhay-shing, 70 x 56 inch
Zimbiri's second exhibition, displayed at the Royal Textile Academy, Thimphu, Bhutan.
AUGUST 2015
“She had blue skin,
And so did he.
He kept it hid
And so did she.
They searched for blue
Their whole life through,
Then passed right by-
And never knew.”
--Shel Silverstein, Every Thing on It.
When going into battle, a suit of armor is needed. In much the same way I believe people wear ‘masks’ as a protective coat of arms. I understand the necessity in it. However as Silverstein so eloquently states that by doing so we risk the possibility of missing out on relationships with people we can really connect with. Letting people in is just as important as keeping others out.
‘Faces’ is an exhibition that illustrates the masks people wear. How we use it as a means of protection. And how the masks we wear can sometimes become a part of who we are just as much as our ‘real face’.
I have always been fascinated by the wrathful Mahayana masks that have abandoned their beauty and serenity to protect us demonstrating ultimate love so it was only natural for me to use the Mahayana masks to express this
This collection represents my endeavor to understand the many different “Faces”.
July 2014
Acrylic on Canvas
323 cm x 145 cm
Masks 1a is apart of a series of paintings from an exhibition of work titled ‘Faces’. It illustrates the need to don various ‘faces’ for a society to function while cautioning the dangers of doing so. The Mask that has been used in the paintings in the Mahayana mask, a diety that has taken on a wrathful form to scare away evil and protect people. This parallels with how we use different faces to create barriers to protect ourselves
!45 cm x 222 cm
Part of a pair, Dechen is the female counterpart to Ugen. The technique used to create this was reductive 'painting'.
Acrylic on Canvas
145 cm x 222 cm
Part of a pair, Ugen is the male counterpart to Dechen. The technique used to create this was reductive 'painting'.
Acrylic on Canvas
61 cm x 80 cm
White Cement and Clay
30 cm x 36 cm x 27 cm
I've always been fascinated with the idea of taking 2D images and bringing them out into the world in 3D form. A part of the "Faces" exhibition, this is a sculpture of the Mahayana masks. It is a 3D manifestation of the paintings done in the exhibition.
Acrylic and Ink on Paper
57 cm x 76 cm
Masked 1b illustrates the dangers of wearing numerous faces and how if worn without caution we can morph into someone unrecognisable.
Acrylic and charcoal on Canvas
156.5 cm x 129 cm
July 2014
Acrylic and ink on paper
57 cm x 76 cm
Masked 1b and Masked 2b are from a collection of works titled “Faces”. These pieces are an illustration of the dangers of wearing numerous faces and how if worn without caution we an morph into someone unrecognisable.
Acrylic on Canvas
92 cm x 122 cm
Acrylic and oil pastel on canvas
240 cm x 150 cm
Acrylic on Canvas
352 cm x 160 cm
Acrylic on Canvas
70 cm x 100 cm
Acrylic on Canvas
80 cm x 100 cm
(inspired from online work)
Acrylic on Canvas
80 cm x 100 cm
Acrylic on Canvas
92 cm x 122 cm
Soft pastel on board
44 cm x 62 cm
Acrylic on canvas
57.5 cm x 76 cm
Acrylic and Charcoal on Canvas
70 cm x 100 cm
Acrylic on Canvas
60 cm x 80 cm
Acrylic on Canvas
50 cm x 69.5 cm
Acrylic on canvas
70 cm x 100 cm
Acrylic and chalk on Canvas
107 cm x 61 cm
Masked 2f is a part of a triptych in the 'Faces exhibition. it illustrages a stage where the mask we wear melds onto our face and becomes a part of who we are.
"We understand how dangerous a mask can be. We all become what we pretend to be." -Patrick Rothfuss, The Name of the Wind.
Acrylic and chalk on Canvas
107 cm x 61 cm
Masked 2f is a part of a triptych in the 'Faces exhibition. it illustrages a stage where the mask we wear melds onto our face and becomes a part of who we are.
Acrylic and chalk on Canvas
107 cm x 61 cm
Masked 2f is a part of a triptych in the 'Faces exhibition. it illustrages a stage where the mask we wear melds onto our face and becomes a part of who we are.
Acrylic on Canvas
122 cm x 153 cm
Acrylic on canvas
30 cm x 40 cm
This mini series is the Mahayana Mask used to experiment with light.
Acrylic on Mirror
122 cm x 170 cm
Marker on Canvas
87 cm x 82 cm
Second set of works done for "Faces" Exhibition. It is one of two works that illustrates the mask as more animated and alive than the living person wearing it
Marker on Canvas
87 cm x 82 cm
Second set of works done for "Faces" Exhibition. It is one of two works that illustrates the mask as more animated and alive than the living person wearing it
Acrylic and Charcoal on Canvas
"Dechen" (left) and "Ugen" (right). Traditionally these female and male masks represent harmony and should never be separated. The blue and red represent male and female respectively. To me, These masks represent an epic love story. Two halves that see each other for all that they are, the best, the worst and still choose to love.
More specifically they represent my parents. My Mom, Dechen, and my Dad, Ugen are an epic love story, my favourite one. Its one that doesn't end with a kiss and the credits rolling. The epic part of their story comes after the kiss and wedding bells. It comes from the every day, from the details, when their actions say I know you, I see you, I hear you.
They've been married for the past 25 years and everyday they have shown their love for each other, every day, every hour, every minute, every second. They push each other, support each other, encourage each other... being exactly what the other needs when its needed. I am so blessed to not only have witnessed such a love but been apart of it.
-For my parents 25th anniversary
In my 3D class in college we were given an assignment to take cubist work back into the 3D world. Ever since I have found it fascinating to try and take my 2D works and bring it out to the sculptural world. This piece Mask (Sculpture) is a 3D rendition of what my characters would look like if pulled out of their canvases.
This mask is part of the "Faces " series. The blue Mahayana mask is the female counterpart of the red male Mahayana mask. Traditionally these two masks are kept together in houses to promote harmony in the house hold.
Through the "Faces" series the masks reach different stages of animation. This piece was created towards the end where the mask seems to be more aware and alive than the person wearing it; "We understand how dangerous a mask cna be. We all becomewhat we pretend to be." -Parick Rothfuss, The Name of the Wind.
The media used to create the work is marker pen on canvas.
Artists statement: STARGAZERS
It took the innocent confession of a seemingly happy four year old girl to open my eyes and see the hurt that she was feeling. “My parents don’t love me.”
I’ve seen how that fear can eat away at a person when left to fester unacknowledged. My work in this exhibition is my attempt to see the unseen and to give a platform to the internal hurt and violence people often try to ignore. It was created to acknowledge the uncomfortable truths and ugliness not just in the world, but in our world, in our lives.
The medium used was charcoal (with water), acrylic paint, India ink, and chalk pastels when creating these pieces. I felt they would properly illustrate the dark mood and the message I want to convey. I was very conscious of the marks I was making to create a sense of violence. The different levels of ‘finish’ are an attempt to create visual tension, as well as express a sense of rawness in the features and the works as a whole.
I use the drawn frames as a tool to create a ‘view’ into the life of the person’; to create a window into the life of these unseen people, and to make you look at these people and see something more than just the exterior put on for society.
I hope that, as a result of viewing my work people will be more aware and sensitive to the people around them; realizing that these people I depict are not just anonymous people in the world, but people in our lives. I feel that we often get so caught up in the things happening in the world around us that we miss seeing the hurt in the people around us.
Commissioned work for the Lunar New Year. Oil on Canvas.
Stupid Water Monkey
Silk thread on raw Canvas, Crochet cloth woven and stitched on to raw canvas. (2″x6″)
“Everybody is a genius. But if you judge a fish by its ability to climb a tree, it will live its whole life believing that it is stupid.”
― Anonymous
These monkeys were a commissioned work for a new year card for 2016. Year of the Fire monkey.
