Silpa Bhirasri (Journal of fine arts)

Reusing Glass Waste from Glass-Blowing Factories to Create Glass Art

Jakapan Vilasineekul, Sawanya Chantarasamai — Wed, 26 Jun 2024 00:00:00 +0700

This research examines how glass waste from glass-blowing factories can be used in creative works. There are three objectives: 1. Study the methods of reusing glass waste in creative works. 2. Study the properties of glass waste and their appropriate usage. 3. Study methods in glass art to be used in education and commercial development. The research process involves surveying the factories and collecting samples. The thermal expansion coefficient and chemical composition are examined. Samples are tested to determine the appropriate temperature for creating works of art in the kiln-formed glass process. The results showed that glass from Thai factories had lower average silica content and higher sodium oxide content than general soda-lime glass. Glass from different factories has different chemical compositions. Therefore, they have different coefficients of thermal expansion, which is a limitation for reusing in the kiln-formed glass technique. Material preparation involves grinding, stretching a cullet into strips, and fusing glass into sheets, which are needed before creating forms of art. Different colored glass, which has been verified to have similar properties, can be fused together using various techniques. Colored glass fused in overlapping or layering can create a unique pattern or rhythm of color. Glass billets are recommended for casting. The transparency of glass changes the feeling of being heavy and dense in sculpture. Frit, or finely ground glass powder, can be used in the pâte de verre technique. It creates a crystal texture and flowing colors as a distinctive feature.

Voids in Art and Architecture: Connotation and Deconstruction

Wed, 26 Jun 2024 00:00:00 +0700

The foundation of Western art is based on form perfection, shaped by the ideologies of each era. The emphasis on form often led to disregarding voids, which were considered insignificant elements. It was not until the emergence of modern art that voids began to assert their position, with artists experimenting with them ironically and successfully. Both forms and voids convey explicit and implicit meanings within the socio-cultural context of each viewer and reflect the artist's intentions. This article explores the potential of voids in 20th century to early 21st century art and architecture based on structural semiotics and deconstruction philosophy especially denotation and connotation of signs. The findings are as follows: 1) Forms and voids reveal the presence or absence of components in each art piece, and their interactions unveil new interpretations, as exemplified in works such as Barbara Hepworth's "Oval Sculpture" and Henry Moore's "Large Two Forms." 2) The conveyance of meaning through multiple signs is influenced by the socio-cultural context of each viewer, exemplified by Antony Gormley's works, which subtly allude to Buddhist and Christian philosophies, as seen in "Sense" and "Flesh." 3) Declaring that "this is art" requires the convergence of different signs, as evidenced in works such as Anish Kapoor's "L'Origine du Monde." 4) Architectural communication relies on the complexion of signs, and deliberate alterations by architects can create an architectural language that becomes profound and meaningful. This transformation process preserves memory and history, as exemplified by Daniel Libeskind's "Jewish Museum Berlin." 5) In the case of existing historical architecture, as the artist had done it with readymade object, the process of deconstruction results in the simultaneous loss of original meanings and the acquisition of new ones. Examples include Gordon Matta-Clark's works like "Bronx Floor: Floor Above, Ceiling Below", "Splitting", and "Conical Intersect."

Cultural Revolution Evidences on 798 Art District, Beijing

Piyasaeng Chantharawongphaisan — Wed, 26 Jun 2024 00:00:00 +0700

This article aims to study the historical evidence of the Cultural Revolution period and its influence on the use and management of the buildings in the 798 Art District. The methods of this qualitative research include data collection from field surveys, observations, and structured interviews as the main sources of data. Together with data from surveys and related documents, they are analyzed and classified based on the concepts specified in the research framework and objectives. Results show that remnants of the Cultural Revolution remain in the factory buildings, which are being conserved to retain the original atmosphere that has become a unique part of the 798 Art District’s identity. In the planning process, the management of the 798 Art District has developed a creative area and Art Learning Resources master plan, supported by the Chinese Government, to align with the urban design plan by the Beijing Municipal Commission of Urban Planning. The Contemporary Art Learning Resources master plan under the government’s cultural industry policies has greatly supported the 798 Art District project, as defined in the 12th National Economic and Social Development Plan (2011-2015). Additionally, the district has developed and connected with the creation of contemporary art roles, establishing an international network through the emergence of contemporary art spaces and centers within this art space.

Time and Space on Thai Mural Paintings: Case Studies of Wat Chong Nonsi and Wat Prasat

Chumpon Promjan , Pishnu Supanimit, Preecha Thaothong, Chaiyosh Isavorapant — Wed, 26 Jun 2024 00:00:00 +0700

This article investigates mural paintings from the late Ayutthaya Period to comprehend the structural, conceptual, and technical aspects. The study examines time and space in mural paintings depicting the Mahanipata Jataka tales (the Ten Great Birth Stories of the Buddha), commonly portrayed in Buddhist Chapels in the late Ayutthaya period. These murals were passed down through generations, eventually establishing the standardized form of mural paintings in royal temples during the early Rattanakosin period. The paintings are believed to have served as the foundation for the evolution of narrative paintings, both in terms of spatial arrangement and complexity, during the reign of King Rama III. Therefore, revisiting the abovementioned subjects of time and space is deemed essential. The study is conducted by analyzing two case study locations: the mural paintings of Wat Chong Nonsi and Wat Prasat, both renowned for their Ayutthaya period mural paintings. The study reveals that both sets of mural paintings exhibit traces related to space and time concepts through portraying figures, backgrounds, and various compositional techniques. Specifically: 1. Time Representation: The mural paintings of Wat Chong Nonsi and Wat Prasat delineate time into three distinct categories: 1) Momentary time, 2) Short-continuous time, and 3) Long-continuous time. 2. Space Depiction of three-dimensional space in two-dimensional mural paintings: Both temples employ similar narratives conveyed with different techniques. Wat Prasat utilizes semi-circular or U-shaped forms to encapsulate the central focal point, imbuing the composition with a three-dimensional perspective. Conversely, Wat Chong Nonsi favours the depiction of three-dimensional architectural forms and suburban scenes, evoking the pictorial space reminiscent of Chinese landscape paintings.

Social Criticism Issues in Thai Contemporary Art since 2014 – 2020

Supachai Areerungruang — Wed, 26 Jun 2024 00:00:00 +0700

This research aims to examine the issue of social criticism in contemporary Thai art, as well as the outcomes of Thai fine arts with social criticism from 2014 to 2020. This is done by analyzing socially critical works of art, activities related to fine arts, articles, reviews, and interviews with individuals in the field of fine arts. It was discovered that the phenomenon of social criticism in art has persisted since before 2014, during a period of rebellion, and continued under a dictatorial government until 2020. The number of such works continues to rise, addressing more issues than ever before, such as gender diversity, equality, civil rights, environment, and education. This has resulted in art practice activities created by groups of creative people from various fields and the public, who use the art space to convey meaningful connections to social issues. This art community is no longer confined only to art galleries or art museums.