PRESS RELEASES
April 18, 2022
Set across the floors of Cambodia’s tallest building, a quintessential journey of discovery through a “living canvas” of artworks awaits. Curated in line with Rosewood’s A Sense of Place® philosophy, the collection will connect guests to the city’s charm, personality, and heritage, as they delve into distinctive pieces inspired by a seamless blend of Khmer traditions and modernity.
In taking the “art” of hospitality to the next level through the unique anthology, Rosewood Phnom Penh Managing Director Daniel Simon says, “Our artistic journey is set to reveal the diverse character of Phnom Penh, a city that has been teeming with artistic endeavors throughout history and one that is home to a generation of talented young Cambodian artists today.”
To welcome guests along the ultra-luxury hotel’s entryway, Cambodian artist Chan Dany has created a customized wood carving panel featuring traditional Cambodian motifs with a contemporary twist, followed by South Korean artist Park Seung Mo’s oversized sculpture of Hanuman, the Hindu Monkey God, by the water feature as a symbolism of protection and luck. Made of finely crafted stainless-steel wire, the latter offers a modern take on Buddhist meditation and discipline via its delicate intricacy. As guests make their way to the elevator lobby, a free-form rattan sculpture by Thai artist Korakot sets the scene for the journey ahead, showcasing a thoughtful fusion of materials and craftsmanship.
Anchoring the hotel from level B1 at Zhan Liang is an exquisite landscape tapestry by Hong Kong’s House of Tai Ping – a celebration of Sino-Chinese art. Guests to the fine-dining restaurant will also be privy to the works of Cambodian artist Leang Seckon, who weaves social issues into his mixed-media depictions of ancient Chinese-Cambodian legends, as well as French artist Jean-Maxime Robert, whose technicolored pop-art portraits channel the beauty of Sino-Khmer women.
Upon arrival at the sky lobby on level 35, guests will be greeted by a pair of lion sculptures wrapped in stainless-steel wire, also by Park Seung Mo, that make for a regal entrance. In the seating area, a large, intricate piece of art made with pencil shavings by Chan Dany dominates, serving as a symbol of dedication, passion, and persistence. Next to the elevators, Burmese artist Htein Lin captures the vibrant essence of Phnom Penh in his contemporary painting.
In the Living Room, pieces such as the notable textile artwork by South African artist Lyndi Sales, which pays homage to the long history of textiles in Cambodia, were curated to exude a sense of homelike warmth. At Brasserie Louis on the same floor, artist Jean-Maxime Robert has created two vibrant, graffiti-style paintings that represent Asian beauty, while Canadian artist Clare Braer’s artistic photo triptych depicts a dramatic close-up of books and paper.
Within the event spaces, Park Seung Mo reimagines traditional wedding vessels by wrapping oversized vases in his signature stainless-steel wire, complementing the two large textile art panels by Thai textile designer Sarinya Srinlim that form the Salons’ backdrop. The latter’s dramatic scale, appearance and bright threads are another colorful tribute to the region’s textile industry.
As they head up to CUTS on level 38, guests will be enveloped in a rich cocoon of inspirational artwork with creative ties to local identity and culture. Making a bold statement at the entrance, Pen Robit’s “Krama” painting references the vibrant hues and woven texture of the traditional Khmer checkered scarf it is named after. In the main dining room, the 3.5-meter-tall Khmer Alphabet Tower, designed by the city’s non-profit contemporary art space SA SA BASSAC, invites conversation, while Battambang-born artist Ben Thinal’s striking “Cambodian Faces” oil painting elevates the private Chef’s Table area.
At Sora, the rooftop bar, guests will discover Japanese artist Sawada’s trio of clay totem figures inspired by Cambodian forests, alongside his stainless-steel plates that provide an elegant contrast to the dark wood interiors. Both of his pieces play with the old and the new concept while symbolizing Cambodia’s continual growth.
Rounding up the journey is the artwork along the guest corridors and within the guestrooms themselves, which draw from the country’s humble beginnings. The former features abstract sculptures representing farming tools and colorful vases that revitalize classic Khmer columns, while the latter sheds a spotlight on Cambodia’s agricultural roots in the form of American artist Daniel McClendon’s iconic water buffalo paintings.
In keeping the hotel’s commitment to sharing a deep sense of place with the guests and visitors, Rosewood Phnom Penh features a contemporary exhibition space to showcase both distinguished and emerging Cambodian artists located at level 35. The quarterly exhibition conveys the rich and fascinating history, culture, and sensibilities of Cambodia and its people through an artistic lens. Read more.
