Fresh Face: Prak Dalin
Working with the land and its communities
A&M's Fresh Face is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists.
Prak Dalin.
A striking feature of Prak Dalin’s work is her assemblage of simple industrial materials that pare urban landscapes down to their affectual kernels. Bricks are stacked to form organic, human-like silhouettes, and the repetition of steel cylinders invokes a sense of rhythm. Wood slabs provide comfort and warmth, while cement is calcified into hefty shapes that can function as solid foundations, bonding substance, or perilously perched to signal precarity. These materials are also used as tools to mediate encounters with the natural environment, exploring complex relationships between rapid urban development, and the communities that congeal around, or are alienated by these spaces.
This economy of medium and form reflects Dalin’s formal training in architecture against the backdrop of an increasingly post-industrial Cambodia. Born in 1996, she graduated from the Royal University of Fine Arts in 2019. During her studies, she also took a contemporary art class taught by artist Khvay Samnang at Sa Sa Art Projects in 2018, where her architectural practice took on an artistic turn. Since then, she has exhibited both locally and internationally, across spaces such as SNA Arts Gallery (Phnom Penh), MAIELIE (Thailand), Haus der Statistik (Berlin), and 16albermarle Project Space (Sydney). She was also one of twelve recipients for the 2024 Maybank Fellowship Artist Fellowship Programme, and is currently on a residency with tiSamjort in conjunction with the Royal Holloway University of London research project, THINK DEEP: Novel Creative Approaches to the Subsurface.
Prak Dalin, Merge, 2020, concrete, debar, gravel, installation view at the Pisaot Artist-in-Residence Open Studio, Sa Sa Art Projects, Phnom Penh.
Her architectural instincts appear most significantly in the precision of her structures, reminiscent of scaffolding or technical drafts. In Lyrical Construct (2024), Dalin reconstructs the Sihanoukville train station using round and thin steel bars. Austere metal is transmuted into the appearance of drawn lines, taking on organic qualities. The familiarity of the building’s outline elicits reimaginations of the space through memory, history, and personal encounters of the everyday. On the other hand, Dalin deftly juxtaposes wood with the same steel bars to emphasise hostile architectures in Go Together, her series of works in the Shaking Land and Water group show at Jendela, Esplanade in Singapore (2022). Here, she reenacts the grids and casts of construction scaffolds, systematically isolating the harsh consequences of economic policies on local communities.
Communal relationships to land and human dominance over nature are also recurring themes in Dalin’s works. Merge 1, presented at her Sa Sa Art Projects Open Studio in 2020, features a spine of metal debars twisted around a body of concrete moulded to the shape of Cambodia. Merge 2 and Merge 3 similarly appropriate debars into man-made edifices that are placed over sand or suspended in the air. The debars’ unsettling intrusions into the surroundings and different elements allude to the invasive nature of unbridled progress, and the desire for power over the environment. Dalin’s practice has taken a softer shift in recent times however, focusing on rural life and its keen attenuations to nature. Familiar motifs of environmental destruction are reified in her recent presentation, Assemblage, as part of her residency with tiSamjort. Yet simultaneously, the usual industrial materials are interwoven with fragile components like silk and charcoal. These quiet gestures contemplate on the intangible links that bind people to the places they inhabit, connecting to memory, history, and stories that hopefully endure beyond the tides of time and change.
(From left to right) Prak Dalin, Grey Land, 2024, cement and steel round bar; Prak Dalin, Ascension, 2024, cement and steel pipe; Prak Dalin, Embodied of Brick, 2024, brick. Installation view of NomadiX Art Tour exhibition at Hiroshima House, Phnom Penh.
In 2019, you graduated from the Royal University of Fine Arts, Phnom Penh, with a Bachelor of Arts in Architecture and Urbanism. You also finished the Contemporary Art Class at Sa Sa Art Projects the year before. When did you decide to pursue an art career?
I did not think of art as a career back then when I was studying. I took the Contemporary Art Class with Sa Sa Art Projects during a college vacation to explore new skills and connect with a different community. But by the end of that class, I experienced a wake-up call that deeply shifted my artistic perspective. I realised how much more freedom I had in expressing myself through art far beyond the creative limits I had felt in architecture. From there, I stayed connected with the art community, kept in touch with my teacher and friends, and slowly found more chances to grow through exchange programmes, residencies, and group shows. Before I knew it, art had become a part of my life, and I continue to see it as a place for learning and self-discovery.
I understand that you still have your architecture practice. How do you sustain your artistic endeavours alongside your architecture work? Do you see these as complementary practices?
While practicing art and architecture, I experienced many challenges with time and finances. I could not keep up with a full-time job at an architecture firm, so I requested to work part-time, and eventually I quit my job to work as a freelancer. I made less money, but I gained more freedom and time to focus on my art. From a financial standpoint, it might not have seemed worthwhile, but it brought me significant mental satisfaction. Surprisingly, I have met many good clients in the art community who have hired me to do architectural work and that has helped to sustain my finances. I enjoy working with them more than the clients in my previous commercial field as our discussions often centre around meaning rather than just aesthetics.
And yes, they do indeed complement each other. Art brings a deeper layer to everything.
It adds emotional and poetic dimensions that enrich my understanding of form and space. I have learned to connect more emotionally and physically to my surroundings. It has taught me to see the poetic side of architecture and helped me explore its layers with a fresh perspective.
The themes of materiality, societal development, and individual relationships to urban environments tend to recur in your work. Why are these topics significant to you?
These themes are meaningful to me because of my background in architecture, where my training taught me to think in terms of form, texture, and space. It became the way I naturally express myself. I have lived in cities where change happens quickly, and I see spaces being transformed all the time. Watching those shifts has made me reflect on how we relate to our surroundings, how we adapt, and what gets lost or gained in the process. I think that reflection naturally found its way into my art. Studying urban landscapes has also made me more aware of how people live within, and respond to, built environments, and I carry that sensitivity into my practice. In many ways, exploring these themes feels like a way of making sense of the world around me.
Prak Dalin, Imagine Material, 2020, installation view at Sa Sa Art Projects, Phnom Penh, Cambodia. Photo by Prum Ero.
You had a solo exhibition, Imagine Material, at Sa Sa Art Projects in 2021, which sought to reimagine simple materials into surprising forms that evoked new meanings. How did the opportunity come about, and what was the motivation behind the exhibition’s concept?
Imagine Material was my first solo exhibition, and I saw it as a chance to start shaping my artistic identity. I approached it quite intuitively, allowing myself to express my sensitivity to various elements and my reactions to the artwork. The concept was not rigid. I wanted to keep things open so I could follow my instincts and let the work unfold naturally. I used simple, often contrasting materials and brought them together to create new meanings. In a way, it was a personal experiment in imagination by pushing the familiar into something more poetic. That process of playing, observing, and translating felt like an important foundation for me.
The motivation behind the show was also deeply influenced by my most important role model, the Swiss architect Peter Zumthor. His ideas around simplicity, honesty, and authenticity resonate with me, and this exhibition was my way of trying to live out those values in my own work. I think, especially as a young artist, it is important to start by listening to myself; my way of seeing, feeling, and making.
Prak Dalin, Assemblage, 2025, installation view at tiSamjort. The presentation is part of the tiSamjort Residency, THINK DEEP: Novel Creative Approaches to the Subsurface, in conjunction with the University of London Royal Holloway. Photo by Enric.
Could you tell me more about your current residency with tiSamjort? What are you working on, and what were your aims for taking up this residency?
The theme of the tiSamjort residency Novel Creative Approaches to the Subsurface resonated with me. It came at a time when I was already thinking a lot about what lies beneath the surface, both in the environment and in myself. I saw the residency as a chance to explore those ideas more intentionally.
One of my goals going into it was to shift my perspective. My work had been mostly focused on urban environments, but I wanted to slow down and reconnect with something more grounded. During the residency, I traveled through four provinces, and spent time in rural areas listening, observing, and being present with the land and the people. It gave me space to reflect, not just on my work, but on where I am at personally, too. I was working on pieces that respond to that experience, shaped by the textures, stories, and quiet rhythms I encountered.
Since then, I aim to continue connecting with the surface, the material roots of culture, and deep histories that lie beneath them all. The more time I spend in nature, with people, and in different communities, the more I appreciate the richness that is often hidden—knowledge, beauty, and a deep sense of belonging that resides in the land.
Prak Dalin, Monks, 2024, site-specific installation view at Wat Nokor Bachey, Kampong Cham, Cambodia, as part of the NomadiX Art Tour.
You have also worked with tiSamjort before on NomadiX in 2024, an art tour that provides workshops for local communities in Cambodia. What was your experience like, and do you think such programmes are effective for connecting Cambodia’s rural communities to the arts?
I was invited to lead a workshop with seventh to eighth grade students. I talked about installation art, and installing artwork with the students. This was a new experience for me, especially since it was my first time leading a workshop, particularly within the local community. The programme helped me connect with the community and the local contexts of the site. I presented my first site-specific artwork at Wat Nokor Bachey in Kampong Cham, and it was such a meaningful experience to fully immerse myself in the local space.
I think that this initiative is very effective in connecting rural communities in Cambodia to the arts, as they are often unfamiliar with contemporary art. By introducing art to the people, we create opportunities for discussions and sharings to occur. The attendees were not only young people participating in the workshop, but also many elderly individuals who came to observe our activities. There was a real sense of togetherness, and a lot of curiosity. The programme brought in all kinds of art forms including photography, painting, installation, sculpture, and performance. It truly transformed the atmosphere and made the community feel more vibrant and energised. These were entirely new images that had not been presented to the local community before, so I am truly grateful that tiSamjort initiated NomadiX. It has not only brought fresh perspectives but has also served as an example or inspiration for others to shift their attention towards rural areas.
(From left to right) Prak Dalin, Under Construction 1, 2022, steel round bar and wood plate; Prak Dalin, Under Construction 2, 2022, steel round bar and wood plate. Installation view of Shaking Land and Water at Jendela, Esplanade Theatres by the Bay, Singapore.
You have had quite a prolific number of group exhibitions both within Cambodia, such as at SNA Arts Gallery and Urbanland and internationally, such as at 16albermarle in Sydney, MAIELIE in Khon Kaen and Jendala at Esplanade in Singapore. Have your exchanges with other artists and different galleries influenced the way you approach your artistic career?
Being part of group exhibitions both in Cambodia and abroad has shaped the way I think about my work and my journey as an artist. Every time I connect with other artists, I gain new perspectives on how art can interact with the world around us. These encounters have made me more open, more thoughtful, and more eager to be around people who are truly dedicated to what they do. Showing my work alongside others has also helped me better understand my own voice. The more I collaborate and share space with fellow artists, the clearer it becomes where I stand in the broader artistic community. It is not just about showing my work. It is also about being part of a conversation that includes artists, curators, and audiences alike.
I have not always had the chance to attend the international shows. My works were there, but I was not. One exception was the exhibition at Jendela Visual Arts Space at Esplanade in Singapore. I was able to be there for the opening, and that experience meant a lot to me. Meeting curators, artists, and viewers allowed me to speak about my practice directly. Even though it was a short trip, it helped me expand my network and feel more connected. What has shaped my development though, are the residencies and fellowships I have taken part in, especially the Maybank Foundation Artist Fellowship Programme (MFAFP) and the Greater Mekong Region (GMS) Residency. These programmes offered rich environments filled with mentors and new images that I had a chance to encounter. Because of these opportunities, I also managed to form meaningful friendships with fellow participants from across Southeast Asia.
Who has been a mentor or an important artistic influence? And why?
An important influence in my artistic journey has been my contemporary art teacher, Khvay Samnang, who was the first person who introduced me to art. I believe those early stages are so important. I was lucky to meet someone who guided me in the right direction from the beginning.
He helped me begin the journey of discovering my own artistic language, and more importantly, he gave me the courage to trust it. He supported all of his students in a way that did not interfere with our natural instincts, but helped us enrich it. What he offered was simple, but they were deeply essential tools that every young artist needs.
Prak Dalin, Imagine Material, 2020, installation view at Sa Sa Art Projects. Photo by Prum Ero.
What is one important piece of advice you have been given?
That we should always give our all and never hold back our true creative expression, even when it feels overwhelming or uncertain. The creative journey is, at its core, about impressing something onto our soul and leaving a mark that is honest and real. When we hold back, we risk losing our way or, even worse, becoming someone we are not.
Could you share your favourite art space or gallery in Cambodia? Why are you drawn to that space, and what does it offer to you and to your practice?
My favorite art space used to be Sa Sa Art Projects, before it sadly closed. It played a meaningful role in my early exposure to contemporary art. My second favorite is the gallery at the Institut Français du Cambodge in Phnom Penh. They offer a wide range of activities including film screenings, workshops, and art exhibitions, which provide a rich environment for exploring different themes. I find that it is a great space for research and inspiration, especially when I am researching new topics. The third is the Bophana Center. They often invite mentors, professors, and cultural figures to give talks on subjects related to art, culture, and history. Occasionally, the space also hosts art exhibitions. Lastly, Java Creative Café is also my favorite place to watch dance performances and performance art.
Prak Dalin, Assemblage, 2025, installation view at tiSamjort. The presentation is part of the tiSamjort Residency, THINK DEEP: Novel Creative Approaches to the Subsurface, in conjunction with the University of London Royal Holloway. Photo by Enric.
What are your hopes for both the art scene in Cambodia, and regionally?
I hope my artist seniors continue to find more success in their careers, especially internationally. They have done a lot to help the world recognise Cambodian contemporary art, and that opens the door for younger artists like myself to have more opportunities and support.
I also hope our art scene keeps growing steadily and with energy, both in local communities and across the country. This kind of growth helps share knowledge, brings people together, and creates space for the next generation to get inspired and involved.
Are there any upcoming exhibitions/projects that you would like to share?
I am currently developing a new series of works, but a lot is still in progress.
