/ Story: Natthawat Klaysuban / English version: Bob Pitakwong /
/ Photographs: Courtesy of ISAN Cubism /
An exquisitely beautiful collection of Buddha figurines reminiscent of stone Buddha images in earlier times has restored Isan vernacular art to life. Let’s go and check out some of the extraordinary works of art that take pride of place in the hearts and minds of the people of the Northeast of Thailand, aka the Isan Region. There is a difference though, as to what kind of material they are made of. One thing is for sure, the result is the beauties of Isan folk art that inspires delight and great admiration. The tranquil figurines are skillfully handcrafted of ceramics glazed in smooth, shiny cool-toned green and blue hues. Truly in a class of itself, the stunning product line is already very well received among aficionados of fine art and sculpture countrywide.
A collection of ceramic Buddha figurines is a work of art in several cool-toned colors by Isan Cubism. It’s being very well received in the art scene.
The project is a collaboration between Dr. Kham Chaturongakul and Dr. Nuttapong Prompongsaton, associate professor — both of whom faculty members of the Department of Industrial Design at Khon Kaen University’s Faculty of Architecture.
Together they co-founded the brand “ISAN Cubism” by integrating the elements of vernacular art indigenous of the Isan Region in exciting new designs, plus using materials and techniques that best fit in with the present time.
Dr. Kham Chaturongakul (left) and Dr. Nuttapong Prompongsaton, associate professor. Both are faculty members at the Industrial Design Department, Khon Kaen University’s School of Architecture.
The ceramic statuettes with a polychromatic overlay are admired for their powerful storytelling about the richness of Isan culture and traditions. For this reason, the brand ISAN Cubism comes in handy as a vehicle of ideas to showcase an intriguing combination between the traditional and the modern.
Cubism, created by Pablo Picasso, is a style in art using simple geometric forms as a means of expression, as opposed to traditional modes of representation and concerns.
Precisely, ISAN Cubism is about the relationship between religion and humanity in the contemporary world. That being the case, the omnipresence of Siddhattha Gautama the Lord Buddha is constantly felt in society today, and hence the images of him are never far from our everyday lives.
Depending on our religiosity, the statuettes of the Buddha play multiple crucial roles in the current environment. For the followers of Buddhism, they are objects worshipped and treated with deep respects. For others, they can be anything from materials used in the furnishing and decoration of homes, to symbols of pleasure and calm rather than being treated with due seriousness. The list goes on.
That being said, the traditional lines, shapes and forms characteristic of Buddha images in former times are reduced in favor of a more streamlined design plain and obvious in this collection of modern-day statuettes. It’s a rethink that enables them to perfectly merge into the circumstances that form the setting of today’s events and ideas.
A vase for displaying cut flowers is known as “Roop Taem” or “Hoop Taem” in the vernacular of the Northeastern Region, a term for color paint art and painting executed directly on a wall.
As the two professors see it, Isan vernacular is chosen as the vehicle of artistic expression in this collection because of its richness in folk elements of design, a genre of visual art and sculpture developed at the time the region was regarded as a remote frontier ungoverned by bigger, more powerful city states.
In exact terms, it’s this quality that makes Isan folk art original and unique in its own special way. Among others, there’s a sincere direct rawness to it that differs from the more refined profile typical of those of Lanna and Ayutthaya kingdoms in former times.
In a nutshell, Isan art is the works of traditional craftsmanship, made by villagers using materials and technique available within the locality, wood and clay included.
Their version of Buddha statuettes may be a far cry from awe-inspiring masterpieces intricately carved by royal court artisans highly skilled in a trade. But, unlike the elegance in appearance that we’ve all grown accustomed to, Isan folk art remains a medium of expression that’s easy to understand, one that’s created using simple clean lines and four-sided plain figures.
The two professors see a similarity of characteristics between Isan art and cubism ideas that originated in Europe. To them, the beauty of simplicity of Isan vernacular art is key to unlocking the door to endless possibilities.
Imagine what would happen if Isan folk art could transform into lifestyle products made easily accessible to today’s generation. Keep the vibrant colors that the villagers have long cherished, plus the rawness feel unique to each and every one of them. That’s what adds charm and character to folk art products.
The brand ISAN Cubism started out with the manufacture of vases for displaying cut flowers. Gradually Nattapong developed an interest in Buddha statuettes, having been surrounded by religious populations. He soon came up with his first collection of Buddha figurines based on wooden models that people made and then donated to temples as the expression of reverence.
Dr. Kham and Dr. Nuttapong said that other countries have their own versions of human figurines, too. The most famous among them are Daruma Dolls of Japan, and Matryoshka, aka Nesting Dolls, of Russia.
They opined that Isan folk art had the potential to develop into something in the future, which can be anything including materials for the furnishing and decoration of a room, or any place on earth.
And you don’t have to be Buddhist to do that, either. Buddhist art is a visual art. It’s the way of seeing things around us and interpreting them through an artistic perspective. And this exquisitely beautiful collection of ceramic figurines is designed to do exactly that.
The art of the ASEAN is shining with excitement at the Bangkok Art Biennale 2018. Besides encouraging creative thinking through their works, artists from around the Region see their expressions as a tool to communicate their enthusiasm, raise their concerns, and get people to think about various social and environmental issues. Their thought-provoking visuals and other artistic designs reflect how art is playing a vital role within the community much like social media is used to connect with people and foster new ideas. Our Living ASEAN team has explored the works of visual art on display and filed this report. Check it out!
The Association of Southeast Asian Nations, ASEAN for short, is a regional organization committed to promoting cooperation and facilitating economic and sociocultural integration among its ten member states, which include Myanmar, Thailand, Cambodia, Laos, Vietnam, Brunei, Malaysia, Singapore, the Philippines, and Indonesia. The ASEAN population is estimated at 635 million.
Country: Cambodia Title: National Road No. 5 Artist: Lim Sokchanlina Venue: The Bangkok Art and Culture Center (BACC), 7th Floor
Lim Sokchanlina is a photographer and founder of the artist group “Stiev Selepak” that’s known for works in various disciplines ranging from photography to installation to performance art. His expressions often reflect with gloominess on socio-economic conditions in Cambodia. Worthy of attention is the work of visual art titled “Sa Sa Bassac Art Project”, which he recently exhibited at the Sydney Biennial, Australia. He also debuted his latest work titled “Sunshower: Contemporary Art from Southeast Asia from the 1980s to Now” at the Mori Art Museum in Tokyo in 2017.
“National Road No. 5”, his exhibit at the Bangkok Art Biennale 2018, tells stories of overwhelming distress after people’s homes have been torn down to make room for the development of a project along the Thai-Cambodian border. Timber that’s eroded by being exposed to the weather tells an unforgettable tale of heartbreak after people’s lives have been altered by the expansion process of a capitalist economy.
A sculptural installation titled “Rekayasa Genetika” (REGEN) by Heri Dono.A work of visual art titled “Flying Angels” on show at the East Asiatic Building
Country: Indonesia Titles: “Rekayasa Genetika” (REGEN), and “Flying Angels” Artist: Heri Dono Venues: The Bangkok Art and Culture Center (BACC), 7th Floor; the East Asiatic Building; and the Hotel Peninsula
“Rekayasa Genetika” (REGEN) is sculptural installation by Indonesian artist Heri Dono. Surprising in a way that’s unique to his artistic ability, the exhibit is appreciated for its beauty of non-verbal expression and strong emotional power. The human like sculptures showing the effect of mutation get their inspiration from Indonesia’s shadow puppetry known as Wayang. The sculptural works are made of a variety of objets trouves ranging from fiberglass and wood to electronic gadgets and electric fans. Art lovers can interact with the exhibits by pressing the button provided. Besides the mutants, Heri also debuts “Flying Angels” at the East Asiatic Building for the duration of Bangkok Art Biennale 2018. Meantime, another squadron of “Flying Angels” are on view at the Hotel Peninsula Bangkok.
Country: Myanmar Title: The Check Point Artist: Nge Lay Venues: The Bangkok Art and Culture Center (BACC), 7th Floor
The Check Point by Myanmar artist Nge Lay sends a tactful reminder that says, “Everyone must come through that door.” It reflects a situation in which people experience a clash of opposing needs or wishes in daily living. A graduate of the Yangon University of Culture, the artist pursued a career in ornaments and accessories design until 2003 when she made the switch to live performance art and photography. Her works of visual art oftentimes touch on the perception of social and historical circumstances and the prospects of Myanmar’s politics. Since 2009, she has exhibited at various art scenes including the Singapore Biennale 2013 and the 8th Asia-Pacific Triennial of Contemporary Art.
The artist’s entry in the Bangkok Art Biennale 2018 is a bloggable installation that calls attention to gender inequality. Through it, she deals with the subject of different treatment or perceptions of individuals due to their gender. The most important point at issue is whether it be good or bad, rich or poor, saint or sinner, everyone is born into the world through that door. Yet, the idea that men and women are not equal remains a major barrier to human development. Aptly named “The Check Point”, the installation tells their stories of what seems like the eternal conflict between the sexes. The artwork that resembles a woman’s outer garment consists of eight types of Longyi or sheets of cloth worn by people from various ethnic groups across Myanmar. As the artist puts it: “The work is a combination of different feelings, satisfaction and dissatisfaction, pride and sadness that comes with being a woman. I want to send a message that the door through which we are born into the world should not be regarded as unclean. Hence, the weaker sex should not be oppressed nor treated badly by people in power. A part from motherhood, they represent cultural values, the beauty of nature, and healthy pride in a country.”
Country: The Philippines Title: The Settlement Artist: Mark Justiniani Venues: The Bangkok Art and Culture Center (BACC), 1st Floor
“The Settlement” is a small room that stretches into infinity. Its outer covering is made of timber and old galvanized sheets. Step into the world of Mark Justiniani, and you come before an amazing installation. The visual artist uses mirrors to create an illusion that shows smaller and smaller reflections that appear to recede into endless space and time. In so doing, Justiniani combines his artistic skill with a high degree of knowledge to relive an experience and feelings from the history of the Philippines. He gets his inspiration from stories of national heroes, such as Jose Rizal, Andres Bonifacio, and their struggle to free the island country form colonialism. Justiniani sees understanding of past events as a means to recuperate from unpleasant memories. Illusions come in handy to stimulate a passion for learning and happiness. For those wanting to escape from confused and noisy disturbances, “The Settlement” is a place to be. (Viewers are required to take off their shoes to enter the exhibit.)
Justiniani is among the artists who took part in social movements in the Philippines from the 1980s to the 1990s. Through the years he has earned affection and esteem for contributing to positive change. He won the Thirteen Artists Award from the Cultural Center of the Philippines in 1994. Since then, he has exhibited at major art events worldwide, among them the Asia-Pacific Triennial, the Yokohama Triennial, the Asia Society in New York, the Asian Art Museum in San Francisco, and the National Art Gallery of Singapore. Country: Malaysia Title: We die if we don’t dream. Artist: Sherman Ong Venue: The Bangkok Art and Culture Center (BACC), 7th Floor
Winner of the 2010 ICON de Martell Cordon Bleu Photography Award, Malaysian artist Sherman Ong has worked in motion pictures and photography in Singapore. She is passionate about the circumstances affecting the relationships between humans and the environment as well as change that’s taking place in modern-day Southeast Asia. Sherman is widely known for her work titled “NUSANTARA: The seas will sing and the wind will carry us” that chronicles long journeys by sea through the Region from past to present. It tells stories in a non-verbal way of movement of people from one area to another as well as cultural assimilation that has come to characterize the social landscape. Over time, as people came in contact with one another, the individuals or groups of different ethnic heritage are absorbed into and become a part of the culture of a society. For the Bangkok Art Biennale, Sherman Ong debuts “We die if we don’t dream” (2018), a thought provoking exhibit about the experience, ideas, and memories of Afghan people in Malaysia.
Country: Laos Title: The Adventure of Sinxay Artists: The Thai-Lao Group Hooptam Venue: BAB Box @ One Bangkok
“The Adventure of Sinxay” is a full-size wall painting in vivacious colors by the Thai-Lao group Hooptam. The painted picture is the result of a confluence of ideas between Songwit Pimpakun, Tanupon En-on, Home-Sawan Umansap of Thailand and two artists from the Lao PDR Tiane Vilayphonechith and Amphonesouk Phaysourine. The amazing work of visual art gets its inspiration from oral literary works about the basic goodness of mankind and courageous character. It tells a story in a powerfully irresistible way about a young man who goes on a long journey to rescue his relative abducted by a giant. Along the way, the story of imaginary persons and events makes reference to the basic teachings of the Buddha, the beliefs associated with the local people, and the mottos that guide them through pain and suffering. For the Bangkok Art Biennale 2018, the artist group gives a different interpretation to the classic story so as to fit in with modern-day circumstances. The leading character begins his journey from the Laotian capital Vientiane, crosses the Mekong River into Thailand, and soon heads for Bangkok. On the way, he confronts many obstacles, among them devils and evil spirits as well as an army of soldiers. Overall, it’s a confusing world dominated by technological advances and online social media.
Country: Vietnam Title: Jrai Dew: A radicle room Artist: Art Labor Venue: O. P. Place, 3rd Floor
Artists from Ho Chi Minh City, Vietnam came together in 2012 in a bid to find ways of presenting their ideas through non-formal visual art forms. The result was a series of artistic expressions from a unique cultural point of view. The group consisted of artist Thao Nguyen Phan, curator Truong Cong Tung, and author Arlette Quynh-Anh Tran. Together, they experimented with new ideas that went beyond the limits and ventured out into unfamiliar territories. In the process, they discovered “Jrai Dew”, a belief traditional to an ethnic group called Jarai who inhabits remote areas in the highlands of central Vietnam. According to an explanation by Art Labor, the Jarai people believe that humans are an inextricable part of the cycle of nature, a process in which everything is continuously cycled in various forms of the environment. After death, everything begins again like tiny drops of water that form in the cold of night and evaporate when temperatures rise. Likewise, people and the forest in which they live go through a never-ending cycle of change. As the gems of morning disappear, they signal the opening of new opportunities for other things to grow. For the Bangkok Art Biennale 2018, Art Labor debuts “Jrai Dew: A radicle room”, a unique installation that took three years in the making. It’s designed to communicate such a thought provoking idea from the highlands of central Vietnam to its audiences beyond borders.
Country: Singapore Title: A Parade for the Paraders Artist: Kray Chen Venue: The Bangkok Art and Culture Center (BACC), 7th Floor
“A Parade for the Paraders” is a triple-screen piece of video art by former members of the Singapore Military Marching Band. The musicians come together to play “Steamroller” in a lively and animated fashion that has made the soldier jogging song more interesting and exciting. The band members are seen without full dress regalia as they march past a deserted school. The relaxed and unconcerned parade may be an unfamiliar sight to see, but the music and the formation are a serious matter. Kray Chen, formerly a member of the marching band, explained that his video art presented a contrast between playfulness and serious performances. The real military marching band spent many hours practicing to achieve perfection before they could play as part of National Day Parades on August 9. His band did not. A harsh reality of life that few people knew was that military marching music was taken so seriously that under normal circumstances, its members weren’t even allowed to perform live in public.
Country: Thailand Title: The Outlaw’s Flag Artist: Jakkai Siributr Venue: The Bangkok Art and Culture Center (BACC), 7th Floor Ambulatory
“The Outlaw’s Flag” by Thai artist Jakkai Siribut is an installation that calls attention to the plight of the Rohingya refugees. Like a very exciting contest, the work of visual art consists of 15 flags that no one knows to what country or people they belong. The only known truth is that the humanitarian crisis caused by violence and discrimination in Myanmar has sent hundreds of thousands of refugees fleeing into neighboring countries. The imaginary flags on display send a message of hope for the future of the Rohingya and urge countries in the region to cooperate in a bid to end terror and suffering that the refugees are facing. The artist is regarded with respect and warm approval for drawing attention to pressing socio-political issues, most notably the challenges faced by the followers of Buddhism in Thailand. He sees the tendency to consider material possessions more important than spiritual values as having a detrimental effect on the Thai way of life. A versatile artist, Jakkai is skillful in using textiles, embroidery techniques, photography and video art in creating beautiful installations that get people to think about the problems that need to be dealt with. He has exhibited at various art destinations in America, Europe, and Asia, most notably the Asian Art Museum in San Francisco, the Asian Civilizations Museum in Singapore, and the Vebih Koc Foundation in Istanbul.
/ Story: Jeadwonder / English version: Bob Pitakwong /
/ Photographs: Sitthisak Namkham, Piyawuth /
Young married people these days tend to move away to have children and live separately, but Chang (Somprasong Sawat) and Bua (Buachomphu Ford) have brought their families back home. Everyone living together in a warm communal atmosphere makes this big wooden house a true family home.
Mother and her younger sister live in the left wing. Behind is the parking area. Spaces are separated with drapes that can be rolled up and put away to create a common space for big family dinners.Teak wall and outdoor connection of mother and younger sister’s house.
“We’re all one big family, Mom, my sister, and my family, which right now is me, Bua, and our three young sons. It’s comforting to have relatives nearby. Grandma and Auntie help with the grandchildren,” Chang says with a smile.
Kanika Rattanapreedakul of Spacetime Architects Co.,Ltd. designed the house: Chang had learned about her work from a magazine article about house design in New York’s Soho district, where Kanika was the single Thai woman featured among a number of Westerners.
Her design resulted in this unique 1,000 square meters big wooden house, divided into three main sections. The first part, in the center, holds the swimming pool and central area of the house: living room, dining area, and Western-style kitchen. This is everyone’s common area.
Dining area and light-use kitchen.Chang and Bua’s parlor, used for a meeting room or just to socialize.Fresh red tones enliven Chang and Bua’s living room.Left: Chang’s sister’s private kingdom. Right: A glass corridor on the second floor connects Chang’s house to the central area.
A section of the lower floor is designed for parking. The mother’s bedroom on the second floor has a classic décor. A vertical garden adds a feeling of warmth. The third floor is Chang’s sister’s domain. The right wing is surfaced with aluminum paneling, for a modern, fashionable “industrial” look: the family calls it the “tin house.”
“I collect paintings, so we have a room for them; in fact the room is designed around them. I favor surrealism and expressionism. You don’t have to understand everything to appreciate the art: it’s enough for it just to have an emotional impact.”
Chang and Bua’s art-gallery bedroom connects to a spacious white bath.
The ground floor next to the pool has a reception area for guests, decorated with Chang’s art collection and next to a glass room where Bua practices yoga or sons play with friends, neighbors, and relatives their age.
The second floor is a mezzanine, with young Matt’s bedroom and a small pantry. Finally, on the third floor is Chang and Bua’s bedroom and two more small rooms for the children as they get bigger.
The design takes everyone’s needs into account in creating not only a beautifully designed and fully functional living space, but more than that, a place that brings together the love and warmth in the family, something that can’t be found anywhere else but here, their “home sweet home.”
Let’s look inside a compact home studio that’s truly in a class of its own. Glass panels everywhere give it a bright and sunny personality. Interior décor features charming antiques, many redesigned with new forms and functions.
Double height room design reduces heat radiation through the glass.
Torlarp Larpjaroensook, a young and upcoming artist, founded “Gallery Seescape” in Chiang Mai, where his well-known works “Grandma’s Spaceship” and the light switch manikin “Bestto Boy” are on display.
His new pad, a very cool three-story home studio just a few steps away from an old house, stands where Torlarp and his construction team tore down what used to be a 4-by-8-meter art materials storage shed.
A tree in the bathroom! The skylight above provides natural light. Take a shower, and the drainage waters tree roots below.
The new compact house faces west to greet the old place of residence, with the two connected by a flyover walkway. It’s thoughtfully devised to give new form and function to favorite materials he’s collected. Torlarp’s idea: the narrative in things which have lasted over time will take people’s memories on trips without end.
“My first vision was a bridge between buildings which would give the feeling of being in a tree: look up, see the sky. So from the start the building had to be tall, but the most important element really was the proper use of the antiques I’d collected,” Torlarp explained.
As the artist puts it, more than 30 percent of the new house and fittings come from the redesign of old things. “Teak, old metal: it’s all about what could be used for what, and how? Take for example an old teak door that has been repurposed as a dining table. It’s edged round with copper and refitted with rusty antique iron legs.”
From the start, Torlarp wanted the house to be both art showroom and workshop, which is why it’s so open: installed rectangular steel frames are fit with glass to build entire walls, with a “double space” interior height, creating lines of sight giving a good view of the art work from every spot.
Attic bedroom: The east wall at the head of the bed is a clear glass window designed for waking with the morning light.
The lower level interior is divided into a painting studio, dining area/kitchen, and a sitting parlor. The second floor holds the living room and home office, while the third floor is an attic bedroom with a round skylight to allow sleeping beneath the stars and waking with the sun.
“I’m interested in architectural openings: doors, windows, etc., connecting the indoor and outdoor worlds. They’re points of change for wind, sunshine, and even people. That’s how the project started,” Torlarp explained.
The convex curvature of the kitchen countertop is a space-saver.
Under extreme space limitations, free and comfortable living can only come from well-thought-out planning. In this particular case, the stairs were a challenge.
“The staircase is actually a showy part of the house I’m really interested in, since it’s involved with both building height and space used. It had to take up the least possible space and, at the same time, function as a piece of art right in the center of the house,” added the artist/homeowner.
“Managing materials is hard, especially using leftovers. I needed ten steel segments to make the stairs, but could only get four, so I had to scramble and rethink the whole process,” said Torlarp, smiling with pride at the end result.
/ Story: Wuthikorn Sut / English version: Peter Montalbano /
/ Photographs: Sitthisak Namkham /
This box-shaped house uses architecture and coordinated interior design to tell stories of the present and the past.
The house is located in the Petaling Jaya district of Selangor, Malaysia. This is a district of single homes, but with little space to put up a large house.
Still, architect Dr Tan Loke Mun rose to the challenge of house owner Kenneth Koh and tore down the former structure here to build a new 3-storey box-shaped house in its place.
“Ground space was limited, so we built upward,” the architect told us. Building vertically involved careful division of space. The lower floors hold common areas: parlor/living room, dining area, kitchen, and conference/chat room. The 3rd floor is an attic, holding hidden utility systems next to a small living room.
The designers brought an “outdoors” mood to each part of this box-shaped house: there’s a “double volume” high, open space on the first floor; glass windows open to the garden atmosphere, and potted shade-loving plants bring it inside.
Gentle sunlight shining into the living space combined with a light breeze from a ceiling fan gives the feeling of sitting in a garden.
An effective play of space combines with the interior décor to bring out a timeless feeling that reflects its Malaccan legacy. The Chinese-style furniture, both traditional and contemporary, was made by Malaccan artisans. Paintings tell of a land that lives on in the memory of the owner.
For architectural reasons, the stairway is in the middle of the house. The folded steel balusters look light, and the red banister is at once tremendously chic and reminiscent of the row houses of yesteryear.
Significantly, the prominent terra-cotta tile facade is remarkable.
“In tearing down the old house, we discovered that the roof tiles were handcrafted, imported from Calcutta, India, so we set them aside to use this way for privacy and heat insulation,” added the architect.
“Their texture connects nicely with the other materials used here. This original house tile is long-lasting, looks great, has a timeless quality, and is a good choice in combination with the other main structural components of brick, concrete, and steel.”
The decorative outer house wall uses a suspended steel framework to hold the terracotta roof tiles and red brick.
The outer surface of this box-shaped house structure shows a wall of terracotta roof tiles that open and close to catch the light. The metal support structures reach out from the main building to form a pleasing pattern of connections between the inside and outside.
The look and ambience here remind us of a Malaccan row house, but in a modern context.
Effective combination of old materials and new in textures that suit its owner’s heritage gives this house a sense of being outside of time, and its memories will be passed on to the next generations who live here.
Ultimately, we don’t often find a big-city house that feels so bright, natural, and full of narrative.
/ Story: Otto Otto / English version: Bob Pitakwong /
/ Photographs: Sungwan Phratep /
Introducing a plain and simple concrete home that captures the essence of the cultures of Southeast Asia. Like an unforgettable journey back in time, it uses bamboo design for interior decoration. Step inside and be enthralled by a bewildering array of items made of bamboo and craftworks showcasing a passion and individuality.
The homeowner is a nationally renowned painter. When his old house was receiving more visitors and friends than it could handle, he decided to build a new one right next to it. The result is a living space handcrafted with grace and sustainable elegance.
The first floor holds a trendy open-concept living room with dining space done in the loft style. It houses a collection of paintings that dominate bare concrete walls.
If visitors should feel like spending the night here, guest accommodation is only a flight of cantilever stairs away.
There is a touch of the exotic in the bedroom designed by award-winning designer/carpenter Yutthana Bumrungkit. He thinks this modern building needs a bit of craftworks to create a delightful local ambiance.
Ceiling treatments are fashioned from cleaved bamboo paneling, while the walls are covered in flattened bamboo poles arranged horizontally to highlight a naturally split pattern and nodes in rustic amber color.
Even the doorknob is crafted of a bamboo gnarl.Light switches are hidden in plain sight behind knotted bamboo sticks put together in a miniature lattice.The rustic handrail is crafted of a giant bamboo pole, part of the designer’s rare collectibles.
Ceiling treatments combine strand woven paneling with braid design, ideal bathroom décor of bamboo aficionados.An ultramodern chandelier fashioned from sheets of mulberry paper fills the interior with an orchestra of electric lights.
The raw look of lofts and warmth that comes with bamboo design combine to give this house modern rustic appeal while showcasing the owner’s passion and individuality.
In a nutshell, the giant woody grass of Southeast Asia still has plenty of room to grow in the world of modern design.
Bid farewell to 2016 and ring in the New Year with Sirimongkol, an exhibition of works by celebrated illustrator Pomme Chan. The artist got her inspirations from the twelve signs of the Zodiac, which in the Chinese belief system are thought to have profound influences on us humans. The event is on from now until February 12, 2107 at the Jam Factory.
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The spiritual art exhibition is appropriately named “Sirimongkol,” which is Thai for good omens or positive energies believed to foretell the future. Pomme Chan’s masterpieces depict the twelve signs representing the constellations that form the imaginary belt of the heavens. To make it easy to appreciate, the exhibition comes in four parts.
The first part consists of illustrated works on canvas depicting the 12 animal signs of the Chinese Zodiac. Each sign comes accompanied by floral and botanical ornaments that speak to basic character, preferences, strengths, and weaknesses of individuals.
The second part is quite a striking collection. Using hand-drawn techniques on paper, the artist lets red and gold play a prominent role in her contemporary interpretation of the Zodiac signs. Sharp geometric shapes blends well with curves and brush strokes from Chinese calligraphy and other symbols of wealth, success, luck, and power.
The third part is three-dimensional showcasing a futuristic spirit house. The 3D shrine is crafted of clear acrylic sheets illuminated by LED lighting, a collaborative effort between Pomme Chan and interior designer Pruitsatorn Sakulthai. Finally, the fourth part comprises illustrated works printed on 10 porcelain plates and mounted on frames to focus on the meaning of “Sirimongkol” as we know it. May 2017 bring happiness and prosperity to you all.
Exhibition period: Now – February 12, 2017. Location: The Jam Factory
For more information, visit www.facebook.com/thejamfactorybangkok
About the artist
Pomme Chan is a Thai illustrator based in London. Her feminine style and detailed illustrated works are recognized worldwide. She has been working with various leading brands and magazines, including Marc Jacobs, Nike, Adidas, Volkswagens, and The New York Times. She is moving back in Thailand, where she has a studio of her own.
On view are bewitchingly beautiful works of art by a duo of Japanese artists, known as Paramodel. Showing a slice of their imaginative paradise, the pair plays with their artistic media in a way so fascinating that it is a class of its own. Based on a site-specific concept, the exhibition is so rare it seems paradoxical in the eye of the world.
One of the Paramodel duo, Yasuhiko Hayashi will stay in Bangkok for a month, during which he will demonstrate the three-dimensional space concept at the Thonglor Art Space using ordinary media, such as industrial pipes and “Plarails” or pieces of plastic railing.
Their signature materials; namely, pipes and plarails, are intended to create visual impacts, the first thing we look toward in any kind of artistic compositions. For some, Paramodel’s work may look like a construction site. For others, it may symbolize scenes of a paradoxical paradise, or visualizations of our complex social behaviors and relationships with one another. Some may find it interesting in the lead-up to for the Holiday Season. In the shortest word possible, it’s time you set your imagination free. Mark your calendar!
For more information: https://www.facebook.com/events/1708509662800769/permalink/1717320201919715/
Landry Dunand is a French photographer, who has come to call Thailand home. Having traveled extensively, from France to Afghanistan to Thailand, he captured moments of people’s lives and local cultures through his film cameras. Dunand will be sharing his years of experience in two concurrent art exhibitions, which art lovers shouldn’t miss.
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The dual art exhibitions, “Silver Fermentation” and “Glided Blue,” will be held at the Neilson Hays library throughout this December. Interestingly, both of them are in monochromic tones.
“Glided Blue” is a collection of cyanotypes. The cyan blue photos are produced by placing a negative or an object directly on a coated paper, and let the sunlight through. The traditional photographic process can be dated back to the 18th century.
“Silver Fermentation” is a series of silver gelatin prints. Dunand developed all the photos himself in his home darkroom.
For Dunand, his main inspirations are people, the nature and its constant changing conditions. His photos are mostly of people in Thai local villages and their natural surroundings. “All of the works presented here are heavily influenced by my environment. I live in a village, where nature is extremely present. I can feel and see nature growing and dying around me. The weather and time makes it constantly evolve. So I get a lot of inspirations from nature and local life.”
“People are still living in nature here. Most of the aunties around me are cultivating their yards for daily needs. Every morning you can see people picking up Dok Anchan (butterfly peas), collecting coconut for the milk and meat, fishing for dinner, and growing various vegetables. I like the self-sustaining life, where what is around is enough to live. People can live much simpler, more peaceful life when they are not distracted by consumerist environments.”
The outcomes of interesting topics and unusual techniques culminated in these wonderful monochromic photos, which art lovers shouldn’t miss.
The In-Between Arts Festival 2016 is being held at the Hin Bus Depot Art Center, A heritage building in Penang from November 26 to 30, 2016
/// Malaysia ///
Information : http://www.hinbusdepot.com
#HinbetweenAF
What we eat tells a story not just about us as individuals, but also about the histories that make up our wider culture. Food is thus intimately linked to the arts. The IbAF works in partnership with other organizations in Penang to foster collaborations between artists and food professionals. By approaching food through art, and by highlighting the artistry of food, the IbAF frames itself as stimulating and inspiring: a positive approach that gets people thinking about the role of food in our society and leads to innovative ideas about people’s everyday lifestyle choices.
The festival’s location in Penang allows us to take advantage of the island’s resources as a centre of artistic creation as well as its global reputation as a magnet for high-quality food. At its core, this year’s IbAF creates a platform to demonstrate the uniqueness of local food and art through the notion of sustainability. Following the food chain from farm to fork, we address the production, distribution, preparation and consumption of food. In doing so, festival goers come together to support locally harvested food products and culinary traditions, and raise awareness of living healthier lifestyles.
The IbAF 2016 organizes an enticing program of events, including mouth-watering food presentations, a variety of food and art workshops, a food zine exhibition, a bookstall and more. At the same time, it offers an opportunity to showcase small businesses and artists to help them flourish and reach a wider clientele. The sheer variety of exciting activities will also further enhance the attractiveness of Penang’s food and art culture in the long run.
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