The surprise is in seeing contemporary Western techniques liberally, almost gleefully, employed by Burmese artists.

Far from being anchored in the temple murals of the past, Rangoon has an exciting arts scene, right down to its digital photographers and installation specialists. There's been little formal training in modern styles - the ruling junta doesn't appreciate foreign influences - but books, DVDs and the Internet have enabled Burmese artists to keep abreast of progress.

Thus the Chiang Mai exhibition is replete with nods to Picasso, Dali and Mondrian, while at the same time honouring tradition. Buddha is evoked in striking blue in one painting while another has a classical dancer faceless to emphasise form.

Burma's artists must first get permission from the government to formally show their art, though many are happy enough with private exhibitions advertised by word of mouth.

The Chiang Mai show is presented by Gold Leaf, an organisation that gives Southeast Asian artists greater exposure. Its founder, Jacquelyn Suter, had often visited Burma, last year meeting some 30 Rangoon artists and each time coming away amazed.

She set up Gold Leaf to show the world what she'd seen.

Naan Naan's abstract painting "Golden Bubbles" is a large, white sphere on a black background intersected by small gold circles. The stark contrasts convey power, the circles contemplative calm.

Suter confirmed that Naan Naan's daily meditation pervades the piece, though the painter shies away from interpretations - she's interested only in free-flowing images.

It comes as a jolt that Naan Naan, a young mother of two, doesn't paint full-time; she's a teacher.

Aye Nyein Myint paints simple still-lifes in a powerful way. Her "Sunflowers" bring to mind those of van Gogh. Domestic themes predominate: flowers, fruit, a cat, a vase.

Her "Red & Blue Leaf" is confident in its strong colours, the large red leaf with one edge tinged in vivid green atop a bright blue canvas. Determined energy pervades the piece.

Suter explains that the 26-year-old is an art teacher who rarely leaves her home without a chaperone, as custom dictates.

"She goes out, but feels uncomfortable going out by herself to paint. She might go out alone to the corner store, but she wouldn't go unaccompanied anywhere else in the city to paint."

Phyu Mon, a married woman who overcame her feelings of isolation when she discovered her artistic talent at age 40, offers three digitally mixed photos in a series called "Hope".

Each shows a large hand. In the first image, it rises from a desert with a mountain in the distance - well out of reach.

In the second, the hand is tied to a table but stretches toward a pale blue cloud. In the last are two hands, one emerging from the sea, nearly touching the frame, the other coming close to an old man peering from a window.

At the centre of the photo is the message "The Right to Hope".

No matter how old we are, it seems to suggest, hope should never be abandoned.

Phyu Mon finds herself alone and restrained by tradition, yet does not confine herself to housework. She has trained herself to paint, perform, write and produce marvellous photo images digitally.

Modern art may have originated in the West, but it offers limitless territory for outward-looking artists to explore. The Burmese whose works are on view here have discovered as much by looking within.

Nattha Komolvadhin

Special to the Nation