Upon graduating from his apprenticeship with Keoku, Sulilat took on monumental sculpting, and proceeded with the construction (in 1958) of his first concrete sculpture garden, Buddha Park near Vientiane, Laos.

Sulilat's eccentric and captivating personality and the blend of Buddhism and Hinduism he professed proved to hold great appeal to some of the locals, and Sala Keoku became something of a religious sect headquarters.

What sets them apart is the uncommonly large physical dimensions (made possible through the use of modern construction materials), highly individualized (and even quirky) artistic fantasy, and sporadic contemporary references (motorized vehicles, firearms, Western garments).

Some parallels may be found between Sulilat's parks and the large-scale culture projects by Lek Viriyaphant, in particular, the fantastic woodcarving compositions of the Sanctuary of Truth.

The didactic nature of Sulilat's vision found its most detailed expression in depictions of the karmic Wheel of Life present in both of his gardens.

Mixing traditional and contemporary figures arranged in a circular pattern, it reveals the human progression from birth to death, which returns to its own origin.

The composition culminates as a young man takes a step across the fence enclosing the entire installation to become a Buddha statue on the other side.