Lukhar was born in Myanmar and has been actively involved in the arts since 2006. His work explores the complexities of both individual and collective identity crises within the broader context of Myanmar’s political and social upheaval. Lukhar often grapples with escaping the painful memories of his childhood, the burden of historical trauma, and the recurring cycle of dictatorship.
In 2012, while living in Internally Displaced Persons (IDP) camps, he witnessed firsthand the human impact of civil war and the resilience of those around him. His artworks offer pointed critiques of authoritarian rule.
In his solo exhibition 16 Dreams of Me (2021), Lukhar presented a sixteen-part video work inspired by murals depicting the terrifying dreams of an ancient king. These works served as metaphorical reflections of the artist’s own dreams, addressing themes such as dictatorship, war, neocolonialism, and the exploitation of natural resources. The project was later expanded in 2024 into an interactive 3D computer game, allowing viewers to engage with the experience as dreamers themselves.
In response to the severe censorship that followed the military coup—and the growing prevalence of self-censorship as an instinctive survival mechanism—Lukhar began using augmented reality as a medium to connect directly and securely with his target audience via the internet, like in his work The Banknote (2022).
In his current project Through the eyes of resistance Lukhar takes his work a step further by using game design as an artistic medium to tell the story of the resistance against the 2021 military coup. Lukhar’s work is driven by the strong belief that art can be a powerful tool in the fight against oppression and injustice. For him, it’s not just about creating aesthetic experiences—it’s about conveying political and social messages that stimulate global discourse.
Lukhar’s residency is funded by the Fellowship Program Weltoffenes Berlin of the Berlin Senate Department for Culture and Social Cohesion.