The River Gallery (est. 2023) represents a core stable of emerging artists that come directly from the lineage of the Colors of Cambodia Art School, with periodic exhibitions by other local and internationally renowned artists. Colors of Cambodia (est. 2003), is a distinguished and long-running school developed by American Bill Gentry in response to the absence of arts education in Cambodia, and since its inception, the school has provided free art education to thousands of Khmer children and teenagers.

The River Gallery aims to bridge a glaring gap in the overall representation of Cambodian artists at scale, serving as a direct pipeline into larger institutions, as well as public and private collections over time.  We endeavor to provide a stage that allows the artists expressive freedom, so that they, in addition to society as a whole, understand the absolute significance of their contemporary voice at this time in history.

When considering why Khmer artist representation is sorely lacking on a global level, a horrific backdrop must first be understood. From 1975 to 1979, the Khmer Rouge, a radical communist regime, systematically massacred a quarter of the country’s population, or around two million people. The group believed the only suitable lifestyle was that of poor agricultural workers, thus specifically targeted anyone educated, as it was believed they were corrupted by mostly Western capitalist ideologies.  Artists, scientists and even those simply wearing glasses were executed and thrown into mass graves.

Because of the civil war and its atrocities, 65% of the overall population is currently under 30 years old.  This means these second and third generation offspring of the Khmer Rouge survivors are only just now giving birth to new and exciting artistic and social expressions.  Music, painting, and fashion are evolving at a fervent pace, as well as the LGBTQ+, fitness and body acceptance movements.

Further, whereas fine historical examples of painting and drawing have been replete in Europe and the Western world, the conservation and safe-keeping of paintings has not been a priority in Cambodia, and painting was really secondary to sculpture and other architectural elements.  While we have many known records, texts and extensive research on sculptural elements that exist in and around the temples of Cambodia particularly, it is very rare one will see examples of paintings or drawings.

Lastly, in understanding the gap of representation of Khmer artists on a worldwide stage, Cambodia is a deeply impoverished country.  Many unfortunately live hand to mouth, so to be an artist may seem and be deemed as frivolous. Also, older generations actually feared their children would desire to be artists due to the devastation they witnessed during the war, often encouraging them to pursue other areas of education.  If one chooses to pursue art in Cambodia, he/she/they will often stay within the safer confines of creating works that are sellable, sticking to temple paintings, elephants and scenes of daily Khmer life.

We understand the psychology of this isn’t easy, and it goes ever deeper.  However, the story must be told for context as to why it’s imperative at this time to offer a contemporary stage for Khmer artists.  The Rivery Gallery believes the thread remains ever the same: Genuine love for art and its creators.