Vuth Lyno’s artistic practice operates at a crucial intersection of contemporary Khmer culture. Working across many forms including photography, audio-visual installation, sculpture, and architecture, Lyno engages overlooked histories, notions of community and place-making, and the production of social relations. His raw materials are often the narratives of Cambodian people, gleaned by way of quasi-ethnographic, archival, and visual research, and activated through participatory encounter, pedagogical experiment, and tactile construction. Like artists in many developing nations, Lyno wears many hats: researcher, educator, curator, manager, advocate, and community developer. The independent organizations, such as Sa Sa Art Projects, that Lyno has co-founded, contributed to, and built over the years, are crucial links in a lively, but patchy art sector largely devoid of public-institutional support. They are pivotal for education and training; they are the key conduits for international discourse and opportunities; they are the main nurseries of experimentation.