Silpa Bhirasri (Journal of fine arts)

Soil and Natural Materials as Memories of Devastated Places: Revealing the Power of Fragility in Materials and Landscapes through Phenomenology

เดือนฉายผู้ชนะ ภู่ประเสริฐ — 2026-06-30

This article investigates the role of natural materials as embodied memories of devastated places, analyzed through a phenomenological framework that emphasizes the process of unconcealment the revealing of truth through states of material and environmental fragility. Drawing on the works of five contemporary artists: Eva Hesse, Montien Boonma, Richard Long, Kazuo Kadonaga, and Wolfgang Laib. The study examines how decay, transformation, and material dissolution function as mechanisms that disclose the hidden conditions of place.

The analysis identifies three key dimensions: (1) Material fragility, which reveals the intrinsic instability of substances that crack, dissolve, or transform over time, allowing materiality to emerge as a trace of temporal unfolding; (2) Landscape fragility, manifested through marks of walking, cutting, displacement, or erosion, turning the landscape into a field of world disclosure that is accessed through embodied encounters; (3) The memory of devastated places, in which natural materials operate as long-term substrates of change, making visible the latent histories of rupture and disappearance without relying on narrative representation.

The findings suggest that natural and fragile materials function not merely as components of artistic form but serve an ontological role in revealing the shifting relationships between humans, materials, and landscapes threatened in the contemporary world. Rather than signifying weakness, fragility emerges as a productive force of revelation, enabling contemporary art to open spaces for remembrance, recognition, and the re-negotiation of human earth relations within environments marked by loss and transformation.

A Record of Memories in the Paintings of Villagers from Pae Din Daeng, Hod District, Chiang Mai Province.

Apirak Jianpinidnun — 2026-06-30

This paper aims to publicize and record residents’ memory of life by Ping River before it is interrupted by sand mining concession in Phae Dindaeng Village, Hot District, Chiang Mai Province, resulting in local ecological succession and exploitation. Simple shades and lines in this series of paintings elaborately represent cultural ecology of pure authenticity as well as unity of the community as the origin of the local history, art and culture.

The 7 paintings in this paper are the products of qualitative data collection in the research “Echoes of ecological change in the Ping River Basin in Site-specific Art, Hot District, Chiang Mai Province”. The inspiration is derived from life of Phae Din daeng Villagers: community leaders, elders, fishmongers, fishers, and folks, who have had strong bond with the river ever since their birth.

The analysis on details, compositions and styles of the pictures suggests that people’s memories of old days, before incarnation of camera in such a simple device like a mobile phone, are vividly recalled. The paintings reveal close relationship between people and nature, as well as common experience of the folk whose lives are now disturbed. All in all, the art has reflected collective consciousness of the villagers.

This paper is a voice of the community to communicate their problems with the public, academic circle, and the stake holders in the sand mining, which will positively contribute to an agenda to tackle the environment issue in Phae Dindaeng Village in the future.

Learning the Evolution of Modern Art into Postmodern Art and the Artists Who Influenced Postmodern Art

Pisit Tangpondparsert — 2026-06-30

This article is a study and research from books, textbooks, documents and internet technology media about the subject. The evolution of modern art into postmodern art Including the presentation of important artists who played a role in the development and development of visual arts to follow the guidelines of the era and have an influence on subsequent generations of artists. Four important characteristics of modern art can be briefly summarized. These include: 1) It is art that uses bright colors and thick brush strokes. 2) It expresses both form and abstract form. 3) It explores new ideas such as movement. time and space, and 4) reject the mainstream values and traditional techniques of the past.

For postmodern art, the starting point seems to be from Dadaism. (early 20th century, 1916-1923) which was the earliest group of leaders of postmodern art The overall picture is a rebellion against society and the beauty rules of traditional art.Using art as a tool to rebel against everything that has existed in the past. By using ready-made objects to create works of art, such as Marcel Duchamp's ready-made urinal sculpture, which is considered an influence on artists in the 20th and 21st centuries.

The main characteristics of postmodern art are: 1) resistance and rejection of ideas; The correct way to create traditional art and use imagery from popular culture to create art. 2) Pluralism is a set of ideas that are different from ideas in society. Postmodern art explores the idea of subjective reality, i.e. egocentrism.Postmodern art therefore focuses on the identity of the artist and sees the experience The individual's interpretation of the experience is valuable. 3) Irony and sarcasm. Both use a humorous approach to creating art. Postmodern art draws inspiration from earlier art styles such as Cubism. Surrealism and Dadaism

Artists who have influenced postmodern art include Robert Rauschenberg (1925–2008), Andy Warhol (1928–1987), Barbara Kruger (b. 1945), Jeff Koons (b. 1955), Carolee Schneemann (1939–2019), Jean-Mi Jean-Michel Basquiat (1960-1988), and many others.

Thai Contemporary Art Reflecting Modern Thai Lifestyles.

พรรณพัชร คีรีเดช — 2026-06-30

This research project, titled “Thai Contemporary Art Reflecting Modern Thai Lifestyles” has three objectives 1) To study about Nang Yai Shadow Play at Wat Khanon for use in the creation of Thai contemporary art. 2) To study Thai lifestyle as reflected through Thai technique. 3) To create Thai contemporary artworks on the topic of “Thai Lifestyle in Modern Times.” This research is divided into three phases: Phase 1 Fieldwork and study of related artworks; explore Nang Yai Shadow Play at Wat Khanon in form and technique, then study about Thai and Western related artworks. Phase 2 Literature reviewing, Sketching and experimenting materials to create three Thai contemporary artworks. Research on Thai lifestyles in area of society, family, and economy – both in past and present. Phase 3 Creating the final artworks in this project. The study concludes that 1) The study about Nang Yai Shadow Play at Wat Khanon can be adapted for the creation of Thai contemporary art. This involves applying Thai traditional art combination with Western art, through leather carving and acrylic painting. 2) The creation of Thai contemporary art using Nang Yai Shadow Play at Wat Khanon and Western Art was carried out through experimental techniques to merge Thai and Western Art. The progress resulted in methods using leather carving and acrylic painting, combined with the installation of light boxes behide the artworks to present the leather craved details. From the art works in this research, it was found that Thai contemporary Art represent in both technical and conceptual frameworks. These techniques represent the integration of Thai cultural roots into contemporary Art, which helps conserve traditional Thai art and create new forms of artistic expression.

Designing a local woven fabric pattern to enhance the auspiciousness of the 12 Chinese zodiac signs, while reflecting the unique identity of Fak Tha District, Uttaradit Province.

Patcharawat Suriyong — 2026-06-30

This research aimed to achieve three objectives: to study the belief in the 12-animal zodiac intertwined with the local wisdom and unique textile patterns of Fak Tha District, Uttaradit Province; to design textile patterns, products, branding, and packaging; and to develop product prototypes from the designed patterns and packaging. The research employed a qualitative research methodology, beginning with an in-depth literature review and interviews with local textile experts. This was followed by the design and development process, which involved creating drafts, and receiving evaluations and feedback from experts before the final production of the prototypes. The research findings indicate that the belief in the 12-animal zodiac originates from ancient Chinese civilization, which used animals close to humans as symbols for birth years to classify individuals and predict their lives. This belief has spread widely throughout Southeast Asia, especially in Buddhist countries like Thailand, Laos, and Myanmar. The zodiac years and their corresponding animal symbols are the Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, and Pig. The traditional local woven textiles of Fak Tha District were created by ancestors who migrated from Luang Prabang and settled along the Pao River. They used local wisdom to weave cloth for daily wear and traditional ceremonies, employing jok and khit techniques with cotton and silk threads. A key feature is the Sin Teen Jok textile with the unique "Khao Phan Kon" pattern. For the design process, the target group was defined as women aged 30-40 in major cities with high purchasing power who value the sentimental worth of a product over its price. The 12-animal zodiac graphic patterns were therefore designed to blend with the "Khao Phan Kon" pattern, guided by the concept of "Wear Your Star…Define Your Style" to appear contemporary and steeped in belief. The patterns were placed on a background of auspicious colors: off-white, crimson red, and indigo. Ultimately, these patterns were used to produce five prototype products: a pillowcase, a face mask, a shawl, a wallet, and a coin purse. A brand logo was also designed under the name "Siriwattha," meaning "auspicious garment." The logo was designed from the Khao Phan Kon pattern, and its brand colors are off-white and indigo. Additionally, packaging was designed for all products, including hang tags, labels, wrapping paper, and paper bags.