A sculpture named "Apsara Warrior", weighing 300kg and crafted from destroyed weapons, is still being displayed at the University of Michigan (UMich) in the US. 

The artwork, embodying Cambodia's commitment to peace, was designed by Cambodian architect Ouk Chim Vichet, blending ancient Khmer and contemporary art styles.

This unique piece has captivated approximately 100 architecture students from around the world, currently studying at the university, who have come to admire the artist’s work.

Not far from Phnom Penh’s urban centre, in Russey Keo district’s Tuol Sangke I commune, metal plates of all sizes are scattered on the ground. Here, amidst the activities of cutting and welding that occasionally emit bright sparks, scrap metal is being recycled into various artistic statues and sculptures – this is where the statue was crafted.

Vichet started his education in 1997 at the Secondary School of Fine Arts (SCFA) and graduated in Architecture at the Royal University of Fine Arts (RUFA) in 2006. This education forms a solid base that enables him to draw and create in all Khmer styles.

"The sculpture of ‘Apsara Breaking the Gun’ or ‘Warrior Apsara’ was my first famous work of art, which was bought by a UMich student in 2007 and displayed at his university in the US after [being] exhibited in Siem Reap province," Vichet tells The Post.

He explains that his innovative creation has enlightened foreign students, both in architecture and other disciplines, about the peace-loving nature of Cambodia.

His says his primary goal in creating the piece from the metal of weapons, once used in warfare, was to convey a message of peace to all.

"This Apsara was assembled using gun metal, including materials from AK-47 rifles and other machine guns, mixed with steel, beaked steel and barbed wire. I pieced together metal fragments of varying sizes to create the sculpture, which stands at a height of 2.5m and weighs over 300kg. I single-handedly crafted the sculpture, which took a month to complete," he says.

Vichet mentions that since the sculpture's display at the university, many foreigners have contacted him to inquire about his work on recycling and his purpose in sharing knowledge. Some have even travelled from other countries to meet him personally.

Regarding his assembly process, he notes that most of his work is crafted from scrap metal. The majority of these art products, including paintings, are sold overseas, notably in Singapore, China, Australia, the US and approximately 10 other countries.

The prices vary based on size, with the finished metal sculptures reaching up to $50,000, depending on their dimensions.

A deep love of Khmer art

Vichet reminisces about the past when foreigners were not aware of the value of his art, limiting him to smaller works. However, he now boasts a large workshop equipped to accommodate about 10 skilled craftsmen.

He aims to preserve the cultural art of his Khmer ancestors, integrating modern elements into each creation to enhance its appeal. His range of creations includes decorative metal products, paintings for wall displays and animal figures for public exhibition, all skillfully blending traditional Khmer art with contemporary styles.

“Because I studied at RUFA, I have a deep love for Khmer art and culture and am committed to preserving it. My strong foundational knowledge assists me in creating all these art forms,” he says.

Vichet notes that most of his works, including paintings, enjoy more popularity abroad than domestically. Whether a painting or a sculpture, each piece is crafted with imagination and emotion to produce a unique image, rather than imitating someone else’s work.

He says this originality underscores the value of his pieces.

Currently, he serves as a teacher of architecture at RUFA and also engages in research, compiling documents related to Khmer cultural arts. Apart from his academic pursuits, he generates income through his private sculpture work.

Over time, he has imparted his skills to numerous students in his workshop, with about 10 young individuals currently working alongside him.

Siyonn Sophearith, director-general of Techniques for Cultural Affairs at the Ministry of Culture and Fine Arts, tells The Post that the object’s assembly aims to represent Khmer cultural art.

He notes that while there is nothing inherently wrong with this approach, the critical aspect is whether the creation adheres to the proper rules and measurements. He exemplifies this by questioning the appropriateness of certain elements and their placement in the design.

“But if he is already an architecture teacher, I believe he truly understands and I commend him for it,” he adds.