As the flâneur strolled in 18th century paris, I walk in the city. I walk as a flâneur in the traces of political memory to the sites of the student non-violent uprisings of 1988. these places stand silent, yet they remain steadfast in living memory. The images in this project frame something that appears passed by seemingly unnoticed without voice and without significance. The collective memory becomes of notable importance in this context without record. A prescribed memory from relentless political propaganda strengthens the invisible memory of the flâneur, the inhabitant who upholds in silence the precious meaning of such sites.

I walk carrying and swinging a kway chay, a teashop tea stool, as a symbol of the culture, both of today and of its colonial past. its materiality implies the invasion of the new and the impact of technological migrations. the video is an endless loop, for the walk never ends as symbol of the ongoing struggle for democracy.

Without the acknowledged presence of something, one can remain impartial to one's own selective past. Ignoring the multitude of actual fragments dispersed throughout the city or upon the land, one experiences both illusions and truths of the past.

In this video work, I walk faceless throughout Yangon, the former capital of Burma/Myanmar, carrying an acrylic tea stool (kway chai) as a symbol of both British colonialization which was instrumental in the emergence of the Burmese teashop and as a symbol of freedom. Implied in the walking between major colonial buildings and Shwedagon, the most important Buddhist Pagoda, is the reference to significant sites of the 1988 non-violent student uprising, revealed in the narrative, extended to consider and include the recent events of 2008.