Khmer civilization : Suthep Kritsanavarin

Khmer civilization
As a person who grew up in South East Asia I can not deny that I have been especially attached to the style of stone castle. Since I started my journey as a documentary photographer. In my pictures I wish to tell a story, not only of the architecture but of the past and the story of the fallen empire. Even to this day archaeologists and historians argue about the role of the Banyan Temple  and the controversial issues about Kao-Pra-Vihan temple between Thailand and Cambodia. I think it is meaningless if these buildings are not open for the public to see and appreciate.

동남아시아에서 태어나고 자란 사람으로서 나는 다큐멘터리 사진 작가로서의 여정을 시작한 이래로 석조 건축의 스타일에 특히 애착을 가졌음을 부인할 수 없다. 내 사진을 통해 단순 건축물들 뿐만 아니라 과거와 더불 몰락한 제국의 이야기까지 하고 싶다. 오늘날까지도 고고학자와 역사가들 사이에서  태국과 캄보디아 사이에 위치한 반얀 신전의 역사적 역할과 카오 프라 비 한 (Kao-Pra-Vihan)신전에 대한 논쟁이 많이 일어나고 있다. 나는 이 유산들이 일반 대중들이 보고 경의를 표 할 수 있도록 개방되어 있지 않으면 의미가 없다고 생각한다.

อารยธรรมขอมโบราณ
สำหรับคนที่เติบโตมาในดินแดนเอเชียตะวันออกเฉียงใต้อย่างผมแล้วนั้น จะปฏิเสธไม่ได้เลยว่า ผมได้เห็นและคุ้นเคยกับปราสาทหินของเขมรโบราณมาตั้งแต่เด็กไม่ได้เป็นเพราะผมทำงานเป็นช่างภาพสารคดี  ในฐานะชาวเอเชียผมจึงอยากหาคำตอบถ่ายทอด อารยธรรมเหล่านี้ลงบนแผ่นฟิล์ม ซึ่่งไม่ได้หมายถึงแค่ตัวปราสาทหินเท่านั้น แต่ยังหมายถึง ภาพชีวิตที่ได้รับอิทธิพลมาจากยุคโบราณ และที่มาที่ไปว่า เหตุใดกษัตริย์หรือผู้นำในสมัยนั้นจึงสร้างสิ่งก่อสร้างเหล่านี้ขึ้นมา จนกลายเป็นปัจจัยหนึ่งของการล่มสลายของอาณาจักร ปัจจุบันนี้นักโบราณคดีและนักประวัติศาสตร์ ยังคงถกเถียงกันว่าหน้าที่แท้จริงของปราสาทบายนคืออะไรกันแน่ หรือการตีความหมายของรูปแกะสลักนูนต่ำ ที่แตกต่างกันออกไป หรือแม้แต่การแย่งกันเป็นเจ้าของปราสาทเขาพระวิหารของประเทศกัมพูชาและประเทศไทย ที่แท้จริงแล้วอาจจะไม่มีความสำคัญเลยเมื่อย้อนกลับไปดูจะเห็นได้ว่า ดินแดนและโบราณสถาน จะไม่มีความหมาย หากสิ่งเหล่านั้นไม่ได้อยู่บนพื้นฐาน เพื่อประชาชนส่วนใหญ่

 

Suthep Kritsanavarin

is one of Thailand’s leading photojournalists. His award-winning work has been published internationally in: the New York Times, International Herald Tribune, National Geographic Thailand, Geographical, Aera and Japan Times. Suthep has covered environmental, social and humanitarian issues in Southeast Asia for nearly two decades.

Suthep’s work is based on his firm belief that a photojournalist must act as a conscientious observer of society and culture. He has to contribute to social change on a local and global level. He achieves these goals by working on a project over long durations to build deep understanding on the topic and to establish trust among the communities where he works. Suthep’s powerful images create in-depth documentary essays shot over protracted periods of time on his own initiative and funding.

Recently, Suthep traveled to Burma within a week after Cyclone Nargis that devastated the country. Suthep was able to visit distant areas devastated by the cyclone and chronicled the suffering of people caused by the military government’s actions or lack thereof. His images bore witness to the destruction, torment, and despair not only caused by the cyclone but also exacerbated by the government.

In 2008 Suthep received the Days Japan International Photojournalism Award and was selected for the Best of Photojournalism award from the US-based National Press Photographers Association. His Mekong photo documentary was awarded a grant by the Blue Earth Alliance. After the 2004 Asian Tsunami, Suthep co-founded and worked as the Photo Director of InSIGHT Out! Photography Project. The project teaches children to document their lives through photography in tsunami-affected areas in Banda Aceh, Indonesia and Phang Nga Thailand. He is only the Asian Tutor for young Asian Photographers at the Angkor Photography Festival.

Suthep has exhibited his documentary photography in Thailand, Cambodia, China, Japan, Germany and France including; Siphadon Mekong Fishing Under Threat, Kuay and Elephants: Struggling for Survival, Life in Xinjiang, China and Hunters and Monk in Thailand.

Suthep’s images have been used by international and regional organizations for campaigns and education. The World Wildlife Fund, the International Rivers Network and Terra are using his photos from the Mekong project in their campaigns about the impact of the construction of local dams in Laos and Cambodia.

His cyclone Nargis work received the Days Japan International Photojournalism Award 2009 and be one of the finalist for 2008 Care International Award.

<작가소개>
메콩강 하류 지역을 따라 거주민들의 삶을 찍어온 지난 3년간, 나는 개발의 방치와 자연 보존 노력의 부족이, 소규모 어부들의 생계와 전통적 삶의 방식을 어떻게 위협하고 있는지 지켜봐 왔다. 이 프로젝트는 시판동과 라오스, 캄보디아, 그리고 태국의 메콩강 하류 거점 거류인들의 학문적 고찰과, 연구 중에 있었던 실제 경험들을 보여줄 것이다. 통상, 다큐멘터리 작업은 그 깊이 있는 주제에 도달하기 위하여 작업자들의 헌신적인 노력을 요구한다. 계절에 따라 변화하는 생명들과 드들의 이주의 주기를 기록하기 위하여, 나는 기회가 될 때 마다 이 유역을 빈번히 여행하였다.”

수텝은 태국의 주도적인 사진가이다. 그의 사진은 the New York Times, International Herald Tribune, National Geographic Thailand, Geographical, Area and Japan Times 등으로부터 수상 받아, 그의 작품은 국제적으로 간행 되었다. 수텝은 거의 20년간 동남아에서 환경, 사회, 인권에 관한 이슈를 불러일으켰다.

수텝의 작업은, 포토저널리스트란 사회와 문화의 양심적 관찰자로 행동하여야 한다는 그의 굳은 신념을 기반으로한다. 그는 현지의 지역적 혹은 전세계적 차원의 사회적 변화에 기꺼이 기여하였다. 그는 그가 작업하는 공동체들로부터 그가 관찰하고자하는 주제에 대해 깊은 이해와 신뢰를 쌓아 나가기 위하여, 기나긴 인내를 견디며 작업을 진행함으로써, 이러한 목표들을 성취해 나아갔다. 수텝의 박력 있는 이미지들은, 그만의 독창성과 개인적 자금에 의해 장시간 동안 작업되어 찍혀져, 깊이 있는 다큐멘터리적 내용을 만든다.

최근에 수텝은 일주일 정도, 버마를 강타하여 완전히 파괴해 버린 태풍 나르지스의 피해 지역에 다녀왔다. 수텝은 태풍에 의해 완전히 파괴되어 버린 원거리의 지역들을 방문하여, 군사정부의 행동에 의해 야기된 민중의 고충을 기록할 수 있었다. 그의 이미지들은 태풍으로써 뿐만 아니라 정부에 의해 또한 피해 받은 파괴, 고통 그리고 절망을 꿰뚫어 보고 있다.

2008년, 수텝은 the Days Japan International Photojournalism Award를 수여 받았고, the US-based National Press Photographers Association 으로부터 the Best of Photojournalism award의 수상자로 선정되었다. 그의 메콩강에 관한 다큐멘터리 사진들은 the Blue Earth Alliance 로부터 지원금을 수여받았다. 2004년, 아시아 일대를 강타한 쓰나미 이후에, 수텝은 Photo Director of InSIGHT Out! Photography Project 를 공동 창립하여 활동하였고, 이 프로젝트는 인도네시아 반다아체와 태국의 팡은가의 쓰나미 강타지역에서, 사진을 통하여 그들의 삶을 기록하도록 어린이들을 교육하였다. 그는 또한 the Angkor Photography Festival 에서 유일한, 젊은 아시안 사진작가를 위한 아시안 지도교사이다.

수텝의 다큐멘터리 사진들은, ‘시판동 메콩강 어업의 위협’, ‘쿠아이와 코끼리;생존을 위한 투쟁’, ‘중국 신장의 삶’, ‘태국의 사냥꾼과 승려’ 등의 주제로, 태국과 캄보디아, 중국, 일본, 독일과 프랑스에 전시해 오고 있다.
수텝의 이미지들은, 캠페인과 교육을 위해, 국제 혹은 현지 지역의 기관들에 의해 사용되어 왔다. The World Wildlife Fund, the International Rivers Network 그리고 Terra 등은, 라오스와 캄보디아에서 현지 댐 건설의 충격에 관한 그들의 캠페인 활동에, 메콩강 프로젝트에 관한 수텝의 사진들을 사용하고 있다.

수텝의 나르지스 태풍에 관한 작업은 2009년 the Days Japan International Photojournalism Award를 수여 받았으며, 2008년 Care International Award의 최종 후보에 오르기도 하였다.