Collective History & Contemporary Myanmar Politics with Shwe Wutt Hmon

Name, age, where are you from, what format you like using, what are you currently working on if you are?
I (b. 1986) am a Burmese photographer and mixed-media artist living and working in Chiang Mai, Thailand. My work focuses on collective histories, familial ties, the knots and threads of human relationships, and exploring the inner psyche through intimate storytelling about people and places dear to my heart. I tell personal stories through which I connect with and examine broader social aspects; conversely, I work on social documentaries that reflect and draw from my own position within the context. Photography is my primary medium, while I also incorporate archives, videos, texts, sounds, poetry, paintings, and drawings—either my own or in collaboration with others. I work with both digital and analog photography.

What about your surroundings/environments and upbringing interested you?
I grew up under a repressive military regime for most of my life, in a historically closed and conservative society. Before becoming an artist, I had a background in international development, which sparked my interest in social, political, and cultural discourse. Personally, I see myself as both a caring and a very self-centered person. I work quite spontaneously and intuitively, focusing on myself and the things around me. I suppose that’s why my work organically becomes both personal and reflective of collective history and narratives.

When was the first time you met photography? How did you feel when you met it?
My father is a photographer, and having a difficult relationship with him while growing up, I was very resistant—I told myself I wouldn’t do anything he did.
Around 2014, after ten years as an INGO worker, I kind of lost faith—mostly in myself and in what I really wanted to do with my life. I was also heartbroken at the time, and it was truly a difficult period for me.
I must confess that being part of a family with a photography background (indeed, my dad was the head of the photography department at a government institution, and after his retirement, my aunt succeeded him in that role), I had the privilege of easy access to a camera throughout my life.
When I faced that dark time, I tried to find a little light simply by grabbing a small point-and-shoot camera at home. Since then, photography has become an essential part of my life—it heals me, helps me communicate with others, and allows me to express what I love, what I care about, what makes me uncomfortable, what breaks my heart, and what fulfills my soul.

Tell us about current projects you have been working on (could be any, or just work you have been doing in general). Is this story inspired out of personal reasons, or others? What are you most excited about in these projects?
In recent years, I have been very interested in people's mental health and contemporary Myanmar politics. It is sometimes quite a broad area of study and reflection, which is why I find it exciting, I guess. It leads me to many territories and endless curiosities and imaginations. It is both a personal exploration and an effort to stay aware of history.

How did you find your visual literacy? Why are you attracted to certain images more than others?
I think I am very lucky to have been part of a (women's) photography collective since I started making photographs. My fellow collective members have nurtured me and challenged me to grow. As a lover of poetry and stories, I am drawn to images in which I feel I can hear or read a poem or a story.

Imagine meeting someone who is picking up a camera for the first time. What do you tell them?
Don’t let any setbacks discourage you.