“In Plaintive March with the Vanishing Spirits” (Sritantra, Malacca, 2006) records and decodes the ancient activity of alms bowl walking as a sculpting installation of poetic movement, as a custom that is far more aesthetic than ascetic while at once quintessential to ascetic arts heritage: a muted recital of grimy footfall in plaintive march with the vanishing spirits elapsing in the crumbling facade and veneer of an illustrious Southeast Asian townscape.
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