Suspended Histories reflects a highly unique and dramatic background of history coming from the country of Cambodia. It is wise for one to reflect on this background first, before considering the motives and stylistic choices of emerging artist Soeng.

Cambodia is currently, and has been for some time, existing in a rather liminal space. The term liminal is defined as “occupying a position at a boundary or threshold, or relating to a transitional or initial stage of a process.” In other words, the in between. But how or why could an entire country be existing in a so-called “liminal’ space?

From 1975-1979, the Khmer Rouge, a radical communist regime, systematically massacred a quarter of the country’s population, or around two million people. And because of the civil war and its atrocities, 65% of the overall population in Cambodia is currently under 30 years old. However, as spiritual and historical patterns will show, from the ashes of devastation, always rises a phoenix from newly fertile ground. And while deeply challenging in the face of inherited trauma, Cambodians and Khmer culture is currently in a positive state of regeneration, ripe and replete with young artists who are emboldened to create exciting new expressions, as they move toward a positive future.

Set Soeng is one of these brave artists, helping to re-shape cultural narratives. In each of his works, exist layers of symbols and metaphors stemming directly from the ancient past of Cambodia. One recurring motif is Sing’s use of “Kbach,” or traditional decorative elements of Cambodian drawing and architectural design. All Kbach shapes refer to elements of nature such as the lotus, snail shell spirals or the mythical goose tail shape. Sing also weaves in totemic symbols of Cambodia such as the Romdoul (Cambodia’s national flower), or the lotus flower, a Buddhist symbol of enlightenment and purity.

Central in each work in this show is a “suspended’ figure, temple or floating village house, appearing to emerge or float, almost as a spirit working through the artist himself. And each of these elements is suspended in a perceived liminal space, such as water, air or the metaphorical veil of memory, removed from time itself. Soeng is very intentional with his saturated color use in order to convey particular emotions, and further, given that his family has worked closely for years with local fishing villages, Soeng weaves in this personal narrative, so that viewers can understand him more deeply.

These works spanning from 2024-2025 narrate the in-between space between wealth and deprivation, beauty and suffering, past and present, and reverence and neglect, as well as give a glimpse into a young Khmer’s perspective in modern Cambodian life.

Soeng’s works represent a young artist’s vision, but in the deeper sense, a generational striving toward dignity, responsibility of voice and future possibility.