PHNOM PENH – From a young age, Koem Keosocheat’s life has been shaped by an unwavering passion for art. Since earning her degree, she has devoted herself entirely to her craft — especially drawing — grounding her work in philosophy, religion, the Dhamma, and life’s profound realities.

A native of Kampot province, Keosocheat graduated with a bachelor's degree in fine arts from the Royal University of Fine Arts in 2018. She has since staged three solo exhibitions: ‘Eyes of Mercy’ in 2019, ‘Why do I?’ in 2020, and ‘White’ in 2022 — each marking a chapter in her evolving exploration of identity and cultural memory.

“I don’t want the public just to drop by and look at the artworks — I hope they will ask questions, engage in discussion, and explore the meaning behind these drawings, as they reflect our culture, customs, and the interconnection between the past, present, and future,” Keosocheat said.

Her most recent series, ‘White’, features twelve distinctive pieces — each brimming with symbolic layers tied to tradition, spirit, and collective memory.

“Despite having different titles, each piece is interconnected. These artworks portray the past, present, and future, highlighting the high value of what our ancestors left behind. They remind the younger generation to consider what they can contribute to society,” she explained.

“The messages are intended to remind each individual of their obligations to contribute, promote, support, and preserve our ancestral heritage, while also developing it for future generations.”

While pen drawing remains her primary medium, Keosocheat also expresses herself through oil and watercolor painting, sculpture, pencil sketches, and textile art — each a vehicle for her deeper meditations on Cambodian identity and lineage.

 

Art as Vocation, Not a Career Choice

Since 2019, Keosocheat has poured herself fully into her artistic practice, even as others questioned why she chose not to pursue a more conventional livelihood.

“As I devote myself full-time to research, developing ideas, and creating drawings and paintings, I don’t have time to seek other employment opportunities. Sometimes, I receive negative comments about my decision to be a full-time artist,” she said.

“When asked whether I ever think of giving up because of those comments, the answer is no — they fuel my passion and strengthen my commitment to art.”

For Keosocheat, every drawing is a process of internal excavation — beginning with research and sketches, guided by intuition and emotion, and shaped through constant introspection.

Yet the creative process isn’t always smooth. Inspiration can be overwhelming.

Sometimes, she admits, thoughts come rushing all at once, “as though the spirits of her ancestors dwell within her.”

Over the past six years, Keosocheat has come to recognize that walking the artist’s path can feel solitary, especially in a society where few engage deeply with visual art.

“However, if they are willing to spend time learning, I believe they will develop a genuine love and appreciation for art,” she said.

Even before she began her journey, she knew support would be scarce. But that didn’t deter her. Her mission is not only to create but also to inspire a shift in public perception.

When moments of doubt arise, Keosocheat turns inward for strength. She reminds herself that young artists need mentors — and she strives to be one.

“Day by day, I find joy in expressing my happiness through drawing — it feels like I’m making a meaningful contribution to society,” she said.

Those interested in her work can connect with her via her Facebook page.

‘Nikakhit’: The Sacred Zero

Among her standout works is ‘Nikakhit’, a recent acquisition by ACLEDA Bank. This intricate piece meditates on zero — not as absence, but as a powerful point of origin. It speaks to the growth of spirit, intellect, and knowledge in service of national and global progress.

“In this artwork, I intended to illustrate the beginning of the present, past, and future relationship. I used Khmer script from the pre-Angkor period, dating back to the 6th to 8th centuries,” Keosocheat explained.

Drawing from the Chuon Nath Dictionary, she points out that ‘Nikakhit’ refers to a symbol resembling the number zero.

“The right side of the drawing includes the shape of the United Nations logo and the Independence Monument,” she added, noting that the work reflects progress in education, religion, art, institutions, banking, the economy, markets, modernization and many more.

“Since 1993, our country has grown stronger and has never been under a state of emergency,” Keosocheat concluded.