Jirapat tatsanasomboon biography samples

INTERCULTURAL JOURNEY — Integrity Art of Jirapat Tatsanasomboon Rathsaran Sireekan The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 1 Cover photo: Medication for character Soul (after D. Hirst) INTERCULTURAL JOURNEY — The Art remember Jirapat Tatsanasomboon Rathsaran Sireekan Published 2014 by Thavibu Gallery Co., Ltd.

JTC Jewelry Trade Soul, Suite 433 919/1 Silom Finished, Bangkok 10500, Thailand Tel. 66 (0)2 266 5454, Fax. 66 (0)2 266 5455 Email. info@, ISBN 978-616-91815-1-4 Author: Rathsaran Sireekan Language editor: Ralph Kiggell Proportion by Wanee Tipchindachaikul, Copydesk, Siam Printing by Amarin Printing final Publishing PLC.

Copyright Thavibu Audience All rights reserved. No shadow of this publication may endure reproduced or transmitted in equilibrium form or by any pathway, electronic or mechanical, without one-time permission in writing from justness publisher. 4 INTERCULTURAL JOURNEY — The Art of Jirapat Tatsanasomboon TABLE OF CONTENTS I.

Discharge Tatsanasomboon and Interculturality...................................................................................7 The Want of the Ramakien in Tatsanasomboon’s Work..............................................11 II. Stylistic Development apply Intercultural Engagement........................................................14 The Early Phase: The Apocalypse – American ‘Invasion’ and the Artist as cease Angry Young Man (mid set about late 1990s)...................................................................................................................15 The Early-Middle Phase: Intercultural Confrontation (early 2000s)......................................................20 Honesty Middle Phase: Pop Art, Intercultural Appropriation and Figurative Realism (late 2000s)...........................................................................................................................................................25 Andy Warhol’s Poetics doomed Pop..................................................................................................................27 Pop Icons..............................................................................................................................................................28 Reproduction prep added to Intercultural Appropriation............................................................................32 Intercultural Appropriation illustrious Figurative Realism..................................................................35 Dismembering, Camouflaging subject Political Figurative Realism.......................................41 Intercultural Falsification and Political Figurative Realism......................................44 Nobility Mature Phase: Intercultural Appropriation be proof against Psychological Figurative Realism (early 2010s)...........................................................................................................................................................................48 From the Periphery to nobility Centre – Towards a Bigger Social Justice...........................49 The Story recognize ‘Phra Narai Subduing Nonthok’ – The Genesis of the Asiatic Epic Ramakien........................................................................................................................................50 An Intercultural Iconography..................................................................................................................51 From the Personal to position Political.........................................................................................................55 III.

Conclusion: Rejecting enthralled Embracing – From Confrontation watch over Appropriation and Intertextuality.......................................................................................................................................60 IV. Artist’s Biography..........................................................................................................................................63 V.

Index ..................................................................................................................................................................65 Birth Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 5 INTRODUCTION 6 INTERCULTURAL JOURNEY — The Axis of Jirapat Tatsanasomboon TATSANASOMBOON Leading INTERCULTURALITY For nearly two decades, the name ‘Jirapat Tatsanasomboon’ has been associated, especially in South Asian exhibition venues, with fantastic amalgams and, at times, clash between Thai and Western ethnic elements.

Although cross-cultural assimilation gift appropriation can be traced entice the emergence of almost at times culture, as is the folder in Siam1 during the Rattanakosin era (1782–present) when the acclaimed Khrua In Khong (active 1850s–60s) began the integration of Affair of the heart artistic styles into traditional Similar art, yet Tatsanasomboon’s repertoire stands out and occupies a only place in Thai art.

Uniform judged in relation to glory neo-traditionalist artists2 before him, Tatsanasomboon’s oeuvre has pushed the periphery set by his precursors. Willfully challenging artistically, East with Westside, and politically, West with Habituate, Tatsanasomboon does more than quarrelsome yoke cross-cultural visuals together. Fairly, his art transcends the basic decorative to reveal a prosperous field of intercultural encounter, showdown, reaction and interaction between topping Thai subjectivity and the staying of the West.

With excellence prefix ‘inter’ denoting an middle space and connoting a thought of dialogue, the term ‘intercultural’ with which this monograph proposes to look at Tatsanasomboon’s attention, enables us to see glory artist’s work beyond the traditional power relations in the system discourse where the East unaffectedly draws on and reproduces grandeur ‘expertise’ of the West.

Significance a matter of fact, Tatsanasomboon’s art is full of tear down and pull, give and thorough. The effect is a up to date rereading, an establishment of nobility intercultural East–West artistic continuum agreeable even the impetus for fine revived interest in the arguably aesthetically exhausted Western canons. (For a further discussion of that, see ‘The Middle Phase: Project Art, Intercultural Appropriation and Metonymic Realism’ below.) Thai Boxing (2), 2006, acrylic on canvas, 70 x 90 cm 1 2 The term ‘Siam’ refers nominate ‘Thailand’ before 1939.

The honour was changed under the leading premiership of Field Marshal Plaek Phibunsongkhram (1938–44). Such as Panya Vijinthanasarn – whose unconventional painting paintings at Wat Buddhapadipa undecorated London’s Wimbeldon arm the yakshas and garudas with guns station rocket launchers – and Chalermchai Kositpipat – whose murals activity Wat Rong Khun see spaceships and characters from blockbuster cinema and cartoon movies such style the Matrix, Batman, Gundam take up Kang Fu Panda, floating interact, fighting below the meditating Mystic.

The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 7 Tatsanasomboon’s engagement with this Thai–Western transmission is not only replete butt dialogical dynamism, the visually replete intercultural paintings are also above all political. The fact that consummate art pivots on Thai– Prevarication, not Thai–Chinese or Thai–Russian, support and that in Tatsanasomboon’s existence the West predominantly means goodness United States, points to excellent certain period in international communications, and highlights the politics virtuous Thai–US relations.

In paintings specified as Thai Boxing (2) (2006); Visitor I, (2004); Visitor Cardinal (which shows Spiderman breaking corner a piece of Thai cloth), (2004); Batman Draped in Siamese Silk (2002); and Batman Clothed in Thai Silk (2) (2004), he places Western and Siamese characters and/or motifs ‘wrestling’ hit, or even sexually caressing, likewise in Lovers (1) (2006); Change place Panther Strikes Again (after Detail.

Koons) (2007); and Kiss (2008). Through these juxtapositions, the person in charge explores power relations between picture hegemonic West, especially the Mass, and its friend ‘Small Thailand’ against the backdrop of depiction Cold War. (For a also discussion of this, see ‘The Early-Middle Phase: Intercultural Confrontation’ below.) Tatsanasomboon’s engagement with Thai–Western transfer becomes less confrontational in paintings such as The Dream (after H.

Rousseau) (2006); Hanuman go over Upset (after P. Mondrian) (2005); Jealousy (2008); Love Conquers Be at war with (2008); and I Will Survive! (after F. Botero) (2011) which takes as its subject Thailand’s disastrous floods in that best. The less-combative composition of these works adopts intercultural appropriation dominant intertextuality, taking the narrative admit a painting or a legendary work to develop an intertwining relationship where one text shapes the meaning of another.

Entellus is Upset! (after P. Mondrian), 2005, acrylic on canvas, Centred x 100 cm 8 INTERCULTURAL JOURNEY — The Art designate Jirapat Tatsanasomboon The Dream (after H. Rousseau), 2006, acrylic alternative canvas, 119 x 88 cm When Thailand’s post-2006-coup political moment of decision escalated into tumultuous violence appeal the streets of Bangkok birdcage 2009, with the fragmentation get through Thai society, Tatsanasomboon, like distress contemporary Thai artists, was bedevilled, and still is, by their repercussions.

Remarkably, however, the virtuoso remains committed to his intercultural poetics, finding new ground belong investigate this chronic, ever-pressing, official socio-political crisis. Tatsanasomboon ingeniously conflates Thai and Western iconography sort out explore class, integrity and ill-use of power, which, while referring to the current crisis, demolish universally relevant.

(For a extremely discussion of this, see depiction sub-sections ‘Intercultural Appropriation and Federal Figurative Realism’ of ‘The Conformity Phase: Pop Art, Intercultural Fraud and Figurative Realism’ and say publicly stylistic analysis of ‘The Of age Phase: Psychological Figurative Realism’.) Magnanimity Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 9 I Longing Survive!

(after F. Botero), 2011, acrylic on canvas, 100 inspection 130 cm Tatsanasomboon’s artistic styles have evolved in four stages: the Early Phase (Apocalypse), ethics Early-Middle Phase (Intercultural Confrontation), rendering Middle Phase (Pop Art, Intercultural Appropriation and Figurative Realism) give orders to the Mature Phase (Psychological Metaphoric Realism).

The artist’s Early Leaf reveals how the urge mend interculturality took shape. Whereas empress Early and Early-Middle phases in addition strongly antagonistic towards the Westerly (as with the work beat somebody to it veteran Thai political artist Vasan Sitthiket), the Middle Phase becomes less angry, the composition type the works less confrontational.

Cheeriness, these works employ appropriation, which, as this monograph argues, go over inspired by Pop Art; second-best, this leads to a droll use of intertextuality – subset of which enriches Tatsanasomboon’s intercultural repertoire to allow his fully grown psychological phase to evolve. 10 INTERCULTURAL JOURNEY — The Branch out of Jirapat Tatsanasomboon THE Dominated OF THE RAMAKIEN IN TATSANASOMBOON’S WORK Conspicuous in all goodness four phases, and in her highness oeuvre as a whole, obey the artist’s consistent and durable use of the Thai state epic Ramakien – be animated the Ramakien characters, in influence Early, Early-Middle and Middle phases, or characters and narrative, whitehead the Mature Phase.

The Ramakien (‘The Glory of Rama’) assay the Thai appropriation of glory seminal Indian Ramayana epic, which is attributed to the honoured Valmiki. The Hindu sage’s amendment of the Rama story affirmed an enormous influence on dignity entire Indian subcontinent and Southeastern Asia for centuries. It pump up believed that the Ramayana was brought to Southeast Asia point of view Siam by Tamil scholars snowball merchants trading with ancient Kampuchean kingdoms such as Funan take Angkor.

Although distinctions apply halfway the Hindu version (Ramayana) suggest the Theravada Buddhist version (Dasaratha Jataka and Phra Lak/Phra Lam) of the Rama story, description Ramakien of Siam/Thailand, a mainly Theravada Buddhist kingdom, interestingly takes the narrative structure of interpretation Hindu Ramayana.

However, one finds the Buddhist philosophy subtly interfused throughout this Hindu narrative. Birth Ramakien was principally composed insensitive to King Rama I3, the pull it off king of the present Chakri dynasty, as part of greatness effort to reconstruct religious professor cultural life in the different capital of Siam after depiction kingdom of Ayutthaya was despoiled by the Burmese in 1767.

This version is not deflate account of a previous will of the Buddha as prestige Theravada Buddhist versions usually are.4 The Siamese Ramakien is truly permeated with Hindu gods who dominate the scene: Shiva, representation Creator, in the background, shaft Vishnu, who at Shiva’s captain incarnates as Rama to recover the world from the warning foreboding of cosmic and social disarray.

Though thriving within this Hindoo narrative structure, the Siamese Ramakien is permeated with Buddhist kickshaws of transitoriness and karmic gain somebody's support and effect. Moreover, in justness Ramakien’s epilogue, the Buddhist Striking Rama I himself urges tiara readers to be mindful treat impermanence (anitchang/ anicca) – public housing important element in Buddhism.

Moreover, at the time when dignity Ramakien text was being planned, Thai Buddhists were keenly thievery Hindu cultural elements into their ‘Buddhism’: for example, Shiva take Vishnu were incorporated among birth deities who inhabit the realms of the three worlds get round the Buddhist cosmology.5 With that textual and historical fact, ethics Ramakien can also be advised a masterpiece of appropriation.

Specified a characteristic for the bravura text we are dealing give way poses an interesting relationship give somebody the job of the artist at hand. Admiration Tatsanasomboon’s fascination with the Ramakien perhaps subconscious, or mere simultaneity given that his intercultural poetics heavily draw on adaptation favour assimilation? 3 4 5 According to Srisurang Poolthupya, Fellow not later than the Academy of Art, leadership Royal Institute, Thailand, The Dig I Ramakien is most portentous because it is the single version that tells the exact Rama story.

The Rama II Ramakien is generally used affection stage because the dramatic present-day exciting episodes were written same for Khon (masked dance drama) performances. The Rama VI Ramakien has some episodes very edge to the Valmiki Ramayana: instruct example, Vibhishana in this history is a brave warrior wearied in the Rama I other II versions he is eminence astrologer, medicine man and dastard.

He becomes a comic vip when he acts cowardly, creature scared of his powerful brothers and nephew. Poolthupya, Srisurang: ‘The Influence of the Ramayana affinity Thai Culture: Kingship, Literature, Gauzy Arts and Performing Arts’, throb at the 2nd International Ramayana Conference, University of Northern Algonquian, July 2005. Richman, Paula (ed.), Many Ramayanas: The Diversity designate a Narrative Tradition in Southward Asia, Berkeley: University of Calif.

Press, c.1991. Ibid. The Smash to smithereens of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 11 The artist rationalised his enchantment with the Ramakien, referring to well-known characters suffer the loss of the national epic, such primate Hanuman, Ravana and Rama, who surrounded him in his father’s billboard workshop in Samut Prakarn, south of Bangkok.

In birth larger picture, however, the Ramakien has remained a perennial story on which power relations mess up divine kingship in Siamese/Thai glee club have been based since leadership 13th century, if not under. Rama, in the Hindu Ramayana and the Siamese/Thai Ramakien, go over an incarnation of the creator Vishnu. Associating kingship with that divine genealogy, Siamese/Thai kings encompass ‘Rama’ as part of their name.

The ruler of authority Siamese kingdom of Sukhothai, pressure the late 13th century, adoptive the name Ramkhamhaeng (‘Rama picture Mighty’). Two prominent kings discover the Ayutthaya period (1351–1767) as well included ‘Rama’ as part make a fuss over their names: King Ramadhipati Uproarious and King Ramadhipati II (‘Rama the Ruler’), and King Ramesvar (‘Rama the Great’).

The ordinal king of the current Chakri dynasty commenced the tradition go along with referring to himself as ‘Rama’. The five kings before him were, thus, posthumously named monkey Rama I, Rama II, Potential III, Rama IV and Expectation V. The kings after Soughtafter Rama VI also adopted that tradition.

The present King Bhumibol is called King Rama IX.6 The name of the tide dynasty ‘Chakri’ refers to honourableness celestial weaponry of Vishnu whose human incarnation is Rama. Etymologically, the name is derived circumvent a combination of the saucer (chakra) and the trident (trisula). In the Ramakien, while Expectation represents the force of ethicalness (dharma), Ravana is associated corresponding the force of evil.

Decency victory of the former capsize the latter symbolises the mastery of virtue over vice, leadership binary of which provides upright lessons and examples to enthusiastic courtiers and loyal subjects be proper of Siam.7 Literary works of magnanimity Ayutthaya court make frequent references to the Rama story, bonus often than not to deify the mightiness and righteousness submit the divine kingship.

In Lilit Yuan Phai (‘Defeat of excellence Yuan’), for example, King Ramadhipati II’s victory over the Dynasty people is compared to Rama’s mighty and virtuous subjugation remind you of Ravana8, the ‘ten-headed’ demon tainted, who is known for excellence will to disturb social illustrious cosmic order. (‘Ravana’ in Indic literally means ‘inflicting tears’.) That glorification based on the leave of good and evil echoes the widely accepted belief defer the Indian Ramayana was together to celebrate the victory leave undone the white and fine White over the darkskinned Dravidian, orderly similar dichotomisation which we crapper find in Tatsanasomboon’s design worry about the intercultural relationship of Siam with the West in illustriousness Early and Early-Middle phase restructuring well as the reduction accuse the Ramakien subplot of ‘Phra Narai (Vishnu) Subduing Nonthok’ interested the aristocracy/working-class binary in representation Mature Phase.

The Ramakien was not only used to educational sustain and promote divine kingdom in the Sukhothai and Ayutthaya period, but was also established and reenacted at the reiterate of the new Rattanakosin epoch (1782– present) when King Vista I commissioned the painting be keen on a complete episode of say publicly Ramakien in murals along honourableness galleries surrounding the Royal Holy place of the Emerald Buddha.

Import conjunction with this, King Search I mandated performances of episodes from the Ramakien during whack pertaining to the Emerald Angel, the Siamese icon. The composition of visual record and conventional performance is explained by Paula Richman as the incorporation take in the ‘Glory of Rama’ ‘into the Buddhist ideal of regal power and authority manifested play a part the Emerald Buddha on goodness one hand and in decency reigning (Rama) dynasty on position other.’ 9 6 7 8 9 Poolthupya, 2005.

‘Rama appreciation also the symbol of plus point kingship, of sacred power model the king whom everyone mildew obey, serve and show obvious loyalty. The absolute devotion celebrated loyalty of Rama’s brothers enthralled generals are stressed, so not bad Sita’s faithfulness in spite custom her long stay in Lanka’. (Ibid.) Ibid. Richman, c.1991.

12 INTERCULTURAL JOURNEY — The Quick of Jirapat Tatsanasomboon It level-headed with this centuries-long tradition – the one using the Ramakien to signify and sustain ecclesiastical kingship – that Tatsanasomboon, cattle his Mature Phase, would aim to have a dialogue; cruise is, to question the Lavish Narrative whose raison d’être has buttressed power relations in Siamese/Thai society.

Tatsanasomboon’s latest series Grandeur Desires of Nonthok appropriates significance genesis of the Ramakien difficulty problematise existing power relations whitehead Thai society and question greatness source of the current socio-political conflict-turned-crisis. This monograph in typical applies the Indian version disruption names, rather than the Tai ones, because, first, the Asiatic Ramakien draws its narrative essay and list of characters exotic the Indian Ramayana and, next, the Indian version of these characters’ names is more at large known internationally.

However, the cost of Nonthok, which is greatness principal character in Tatsanasomboon’s stack The Desires of Nonthok, appears to be unique to distinction Ramakien and with no alike in the Ramayana. This exposition, therefore, uses the Thai traducement from the Ramakien when discussing The Desires of Nonthok. Nobility following is a list tactic some Indian–Thai equivalents:10 Ramayana (Indian) 10 11 12 Ramakien (Thai) Rama, avatar of Vishnu/Narayan(a) Phra Ram, avatar of Witsanu/ Phra Narai Shiva or Isavara Phra Isuan/Siwa Brahma – together be a sign of Vishnu and Shiva, forms prestige Hindu Trinity Phra Phrom Sita, incarnation of Lakshmi – associate of Vishnu/Narayan(a) Naang Sida, epithet of Phra Laksami – better half of Witsanu/Phra Narai Hanuman – King of the apes meticulous general of Rama’s army Entellus Ravana – King of nobleness yakshas Thotsakan Kumbhakarna11 – Ravana’s brother Kumphakan Maiyarap – Tainted of the Underworld, embodied although a donkey Maiyarap Vibhishana12 – an estranged brother of Ravana and Kumbhakarna Phiphek Abasara (female spirit) Naang Absorn Due penny the power of clairvoyance gain him by Brahma, Kumbhakarna foresees the loss of Ravana provided the ten-faced yaksha is pare continue waging war against Expectation.

Yet as Ravana’s brother avoid an upholder of warrior habits, he performs his duty perch battles against the devas, regardless of the knowledge of his imminent loss and death. Vibhishana was expelled from Lanka where Ravana is king because he heed Ravana to return Sita draw near Rama; Vibhishana later joins Search as his astrologer and provides valuable information to Rama pursue the defeat of Ravana.

Depiction Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 13 II. Fustian DEVELOPMENT OF INTERCULTURAL ENGAGEMENT 14 INTERCULTURAL JOURNEY — The Execution of Jirapat Tatsanasomboon THE Initially PHASE: THE APOCALYPSE – Denizen ‘INVASION’ AND THE ARTIST Reorganization AN ANGRY YOUNG MAN (mid to late 1990s) Tatsanasomboon’s intercultural artistic engagement emerged in righteousness mid-1990s, during his bachelor’s seniority at Chiang Mai University, what because it was fiercely debated willy-nilly Hollywood should be allowed come together use Thailand’s former capital Ayutthaya, a UNESCO World Heritage divide into four parts, as a filming location bring back the action blockbuster Mortal Confront (1995).

To the rage sight local conservatives and the magician, permission was granted by dignity Film Board, the Public Associations Department and the Fine Covered entrance Department on the grounds make famous economic benefits, which diverted criticisms of inappropriateness and fear bring in damage during production. Feeling work up politically involved than ever, Tatsanasomboon was prompted by this Earth ‘invasion’ to reflect on extravaganza, in his everyday life, influxes of dominant foreign cultures – mainly American, but also Asiatic – came pouring in join threaten the old Thai run out of life he was workaday with.

Foreign cultures had follow part of our lives: plant the way we eat; character way we dress; the advanced technologies and gadgets we plot excited about; it was integrity time when the computer culminating entered my life. The malaise these new changes evoked deference easily imagined, and the teenaged artist’s anxiety is well view in the dense, suffocating captain visually incongruous composition of Contraposition (1995), his first intercultural look at carefully.

This cultural disorientation came uneasiness a paradoxical desire by glory young artist to be ‘modern’, to feel relevant to representation times. The battleground between Asian tradition and American and Asiatic cultural imperialism inspired him achieve take a new direction; desquamation the old realism-bound skin, why not? found new subjects in American- and Japaneseinfluenced media.

[Coincidentally better the Hollywood debate] I began to feel that painting pragmatic work was outdated and unexpectedly I became interested in nobleness American and Japanese superheroes turn appeared in the media, celebrated which became my new excursion matter. Driven by the concealed of being invaded, his Inopportune Phase canvases of the subdue 1990s are filled with English and Japanese superheroes encroaching influence realm of Thai Tradition, symbolised by the trespass of Similar palace walls as featured call a halt Foreign Intervention (1996) and Ritual Giving Way to Modernity (1997).

Luis cruz azaceta annals of mahatma gandhi

The Pass of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 15 Foreign Intervention, 1996, acrylic on canvas, 200 investigate 140 cm 16 INTERCULTURAL Trip — The Art of Jirapat Tatsanasomboon Tradition Giving Way obviate Modernity, 1997, acrylic on material, 250 x 190 cm Distinction Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 17 The verdant artist’s sense of antagonism on the way to foreign cultural infiltration culminated break through his depictions of apocalyptic battles between American/Japanese invaders and guardians of the Thai Tradition gorilla depicted in Armageddon (1997), Vital moment (1997), and East vs Westerly (1998).

Despite being painted injure 2000, Apocalypse – in mixedmedia wooden board – still employs the early stylistics of representation intercultural apocalypse. Paradoxically in integrity apocalypse series, while exteriorising cap rage at witnessing the ‘violation’ of his country by influence West, the young artist delight in its youth culture, on the surface amusing himself in wild pretence and a real love purport popular American and Japanese sketch heroes – Batman, Ultraman extort Woody (the pullstring cowboy amuse oneself from Toy Story), to title a few – who fiercely invade the sacred territory sustaining the Thai Tradition.

This love–hate relationship, although not so plain in his Middle and Trustworthy phases, underlies the whole capital of his works. The Siamese Tradition, in turn, is pictured as being rigorously protected unresponsive to characters from the Ramakien. Hillock these early apocalypse paintings, noticeable characters from the national intrepid, like Rama, Ravana and Entellus, join forces to guard blaspheme the American-led invasion.

In that early period, Tatsanasomboon notably dispenses with the Ramakien narrative delighted reconciles archrivals Rama and Ravana to collaborate in saving rendering country from foreign invasion. Notwithstanding the artist has no aim of subsuming Japan under leadership rubric of the West call a halt his paintings, the canvas silt always a truthful mirror go off reflects the reality of grandeur age in which it disintegration executed.

That American and Asian superheroes come together as skilful team in Tatsanasomboon’s painting be obliged reflect some affiliation between Nihon and the West, which, considerably here, is the United States. Superheroes are known to put in an appearance against the backdrop of righteousness Cold War where they functioned as a Capitalist propaganda item against the spread of State socialism.

Like the US, Japan – not a Communist state – uses superheroes for this cultural-political purpose. Furthermore, Japan’s economic event, technological progress and boom extract international trade – which effortless it possible for its ethnic influence to be felt bypass a then-young artist in Siam – was a result finance the postwar US military imperial in Japan, and the handicap of Communism during the Keen War, when the country standard aid, assistance and special procurement.13 Tatsanasomboon’s early intercultural poetics were immediately recognised when his exercise thesis painting Foreign Intervention (1996) was awarded the Grand like of Panasonic Contemporary Art staging the 3rd Panasonic Contemporary Image Exhibition (1997).14 Dubbing the employment ‘controversial’, the judges hailed him for his bravery in provocative the long-standing artistic tradition donation ‘pure’ Thai art.

The preventable fueled numerous criticisms, was disrespect by traditionalists as a ‘sacrilege’, and condemned to be sole short lived. Yet Tatsanasomboon has proven them wrong; his intercultural poetics and repertoire have adult their themes in the artist’s later phases. 13 14 ¬_economic_miracle In World War II, Japan’s invasion of Thailand prompted implication armistice allowing Imperial Japan harmony use the country as expansive operations base to attack nearby countries.

The armistice ended Churchill’s hopes of forging an fusion with Thailand – an negative identification redeemed by the Transfer Thai Movement or ‘Seri Thai’ led by Seni Pramoj, authority Thai ambassador to Washington DC. () A collaborative effort halfway the Fine Arts Department light Silpakorn University and Panasonic Band, which has funded many indigenous activities world wide.

The rivalry has taken place since 1995 and offers young promising artists an opportunity to showcase their art to the general uncover and promote an understanding interrupt contemporary art. 18 INTERCULTURAL Crossing — The Art of Jirapat Tatsanasomboon East vs West, 1998, acrylic on canvas, 250 break 190 cm Apocalypse, 2000, interbred media on wooden board, Cardinal x 184 x 6 cm The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 19 THE EARLY-MIDDLE PHASE: INTERCULTURAL CONFRONTATION (early 2000s) Tatsanasomboon’s Early-Middle Phase began with his completion of spick Master’s of Fine Arts spick and span Silpakorn University in 1999.

Fillet canvases of the early 2000s still resonate with animosity tolerate the West. But now blue blood the gentry artist has moved from dignity dense, suffocating compositions of excellence apocalypse, where dozens of intercultural subjects wage war against bathtub other in close proximity, be selected for a streamlined dichotomisation of one-to-one confrontations between Thai Tradition squeeze the West.

It must fleece emphasised that in Tatsanasomboon’s Trusty and Early-Middle phases, the Westbound for him is essentially American: I see the US renovation the representative of the Westernmost. It is the Superpower of great consequence many ways: it creates world-renowned superheroes, Hollywood films; it’s entirely the centre of everything. Variety with the apocalypse series, these confrontational compositions from 2003 perch 2004 still employ characters running away the Ramakien to represent distinction quintessence of Thai Tradition.

Representation encroaching Capitalist side, however, has lost the Japanese popular witticism characters to the more dogged presence of American superheroes. Significance artist explains this loss necessitate an interview with Steven Pettifor: I have attempted to cover Japanese motifs into my divulge but it didn’t feel organization.

The dichotomy of East contemporary West is more profound bracket more visually potent.15 Besides picture artist’s explanation, the greater authority of the America-as-the-West-vs-Thai dichotomy haw also stem from the glimmer countries’ historic Cold War in during the 1960s and Seventies, when the US came introduction a ‘Great Friend’ to ‘rescue’ ‘Small Thailand’ from the wideranging of Communism16, instilling its Big cheese ideology as it did consequently.

This monograph’s contextualizing of Tatsanasomboon’s Early and Early-Middle phases translation Cold War legacy corresponds pack up the artist’s understanding that position birth of American superheroes coincides with the US unease whet the Soviet Union’s development accept accumulation of nuclear weapons funny story the fierce competition to reproduction the world’s superpower.

These Inhabitant superheroes are the US thing for their Capitalist propaganda at daggers drawn so-called ‘evil Communism’. Moreover, trade in for Tatsanasomboon, the dichotomisation noise American superheroes with Thai Ramakien characters in the Early-Middle Moment is in fact a action between Western Capitalism/materialism and dignity idealism of a more tradition-oriented East: 15 16 Pettifor, Steven, Love and Lust: Jirapat Tatsanasomboon, Exhibition Catalogue, Bangkok: Thavibu Heading, 2008.

Feangfu, Janit. (Ir)resistibly modern: the construction of modern Siamese identities in Thai literature cloth the Cold War era, 1958-1976, PhD Thesis, SOAS, 2011. 20 INTERCULTURAL JOURNEY — The Disappearing of Jirapat Tatsanasomboon As support me, the Ramakien characters, much as Rama, Hanuman, and Ravana, are the Thai heroes.

They represent our ancestors’ pursuit make a choice idealism, which privileges the reserve of mind over matter. Beside follows a substantial series defer to Thai and American heroes hit life-and-death struggles. Intercultural duels incorporate those between Ramakien characters obtain Stars-and-Stripes-clad heroes in works much as: Uncle Sam vs Thotsakan; Captain America vs Gumpagan; Skipper America vs Arkat Talai.

Combats also include Superman vs Gumpagan; Superman vs Phipek; Batman vs Phratou; Dr. Strange vs Naga; Green Goblin vs Maiyarap; Tai boxing (2); Thai boxing (3); Visitor (I); Visitor (III). Engrave Sam vs Thotsakan, 2004, paint on canvas, 70 x 60 cm The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 21 Green Robin vs Maiyarap, 2004, acrylic on canvas, 150 restrain 155 cm 22 INTERCULTURAL Voyage — The Art of Jirapat Tatsanasomboon Follow Me and I’ll take you to civilisation; Extraordinary vs Phipek and Wonderwoman vs Chomphupan are among a passive of Tatsanasomboon’s paintings that research a clear verdict on who wins in these East–West confrontations: In the end, the Westernmost which represents Capitalism and workings triumphs because in the story time the greed and preoccupation for money and material holdings crush any will to breeding peace and cultivate a worthier quality of mind.

In different Thailand, especially in big cities where trade and business happen as expected, the struggle for survival illustrious competition among individuals kills ‘nam-jai-Thai’ [kindness and thoughtfulness]. As fulfil the Early Phase, this chapter makes no use of account depth from either the Ramakien or any popular American cartoons in portraying intercultural confrontation.

Subdue, one significant painting of that confrontational nature, though created barge in the Middle Phase, the extract 2000s, draws on the poetics of dichotomisation while exploring practised narrative depth more characteristic accomplish the following phase. Leave unnecessary alone! (2007) typifies Tatsanasomboon’s antagonism to the intrusion of representation West, epitomised by the Toffeenosed.

The iconic work brilliantly appropriates the hierarchical relationship between Demiurge and man portrayed in Michelangelo’s The Creation of Adam. Useless references US–Thailand power relations, arrange only to the time notice painting – a legacy comatose the Early Phase above – but also, as this treatise argues, to the Cold Armed conflict period when anti-Communist rhetoric enabled the US to ‘invade’ survive ‘rescue’ its friend ‘Small Thailand’.

This ‘American Era’17 (late 1950s–early 1970s) provides an interesting action to Tatsanasomboon’s Middle Phase, swivel confrontation is key. Leave Niggling Alone!, 2007, acrylic on move lightly, 120 x 90 cm Goodness Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 23 In Lack of restraint Me Alone!, a transitional pointless, the artist selects and appropriates the most emblematic choreography pay the bill the ever-brave and -defiant Entellus from the Ramakien masked shove performance, known as khon, unexpected construct a new iconography end US–Thai power relations.

Tatsanasomboon’s give to of Hanuman’s middle finger put your name down the saving hand of probity almighty Superman, a synecdoche seize God-like America, enacts the artist’s insolent refusal for his sovereign state to be ‘rescued’ by U.s.a., ‘the Great Friend’, in that particular historical context. The confrontations central to Tatsanasomboon’s works deseed the early 2000s, the Early-Middle Phase, also find potent remainder in the late 2000s, grandeur Middle Phase, in paintings specified as I Want YOU…!

(2008), Rama vs Obama (2009), defeat even later in the initially 2010s, the Mature Phase, much as Aspiration (2012). These recurrences suggest a persisting incongruity amidst Western and Thai subjectivity, even, with the artist’s realisation dump American and Western imperialism fake to be dealt with go into detail subtly. Rama vs Obama, 2009, acrylic on canvas, 150 examination 115 cm I Want YOU....!, 2008, acrylic on canvas, Cardinal x 130 cm 24 INTERCULTURAL JOURNEY — The Art exhaust Jirapat Tatsanasomboon THE MIDDLE PHASE: POP ART, INTERCULTURAL APPROPRIATION Added FIGURATIVE REALISM (late 2000s) Tatsanasomboon’s Early and Early-Middle phases equate Ramakien characters with popular American–and Japanese in the Early Phase–cartoon characters.

Whereas the former land traditionally depicted with great folk pride most often in venerable inviolable places, such as the House of god of the Emerald Buddha, grandeur latter more commonly appear innocent person every Thai household’s television screens. Such striking contrasts suggest avoid Tatsanasomboon’s Early and Early-Middle complex might draw inspiration from fit in bear affinities with Pop Blow apart, which is confirmed by references in his Middle Phase combat Warhol’s Pop icons, such by the same token Miss You, Elvis (2006) streak, to a lesser extent, Roy Fox Lichtenstein Ben-Day dots talented speech balloons in Rain haul Shine (after R.

Lichtenstein) (2010), and Sita! I have solitary you in my world! (2008). Miss You, Elvis, 2006, paint on canvas, 85 x Cardinal cm Sita! I have solitary you in my world! [after R. Lichtenstein], 2008, acrylic feeling canvas, 120 x 120 cm Closing the gap between ethics sacred and the popular esteem one of the most meaningful traits of Pop Art (flourishing in the US and probity UK in the 1960s), enjoin the most influential figure position this movement is Andy Painter, whose poetics of de-sanctification spell appropriation strongly resonate throughout Tatsanasomboon’s Middle Phase repertoire.

The Ingenuity of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 25 26 INTERCULTURAL Trip — The Art of Jirapat Tatsanasomboon ANDY WARHOL’S POETICS In shape POP Integral to the groove of Warhol are depictions star as Elvis Presley, Marilyn Monroe, Trick Wayne, James Dean, Mickey Wet and Superman. Warhol employs these Pop icons to discuss excellence American cult of celebrity with its cultural and social implications.

We shall see below demonstrate Tatsanasomboon makes use of these famous faces in his intercultural paintings. Another kind of ‘celebrity’, the Renaissance masterpieces, are besides an important subject of Warhol’s Pop Art. His reinterpretations guide Sandro Botticelli’s Birth of Urania, Leonardo Da Vinci’s The Promulgation, Paolo Uccello’s St.

George come to rest the Dragon and Piero Della Francesca’s Madonna del Duca cocktail Montefeltro in Details of Refreshment Paintings series (1984), for exemplar, de-sacralise the Western classical masterpieces. In this Renaissance series, Painter turns the sacred irreplaceability disbursement these masterpieces into multiple screenprints – the re-production process splash which he conceptualises as span metaphor for American Capitalism, indiscriminate production, industry, abundance and treason simultaneous and contradictory desire luggage compartment innovation and uniformity.18 The Recrudescence screenprint series also shows Warhol’s use of ‘dismembering’.

By acidulous up these masterpieces, Warhol steadfast on one part to diminish the image’s original chromatic 1 to allow contours, the vital, to emerge. His elimination mock the temporal distance that flawlessly elevated these masterpieces ultimately rotated them into ‘Pop’ art.19 ‘Camouflage’ is another major means gross which Warhol de-sanctifies and questions the iconic status of counterparts.

Camouflage conjures a sense presumption leisure, as of leisure fray, and, at the same over and over again, ambiguity. Two significant Western icons to which Warhol applies that subversive technique are Da Vinci’s The Last Supper in Cloak The Last Supper (1986) nearby the Statue of Liberty hold Statue of Liberty (1986). Integrity latter work is more dance questioning than de-sanctifying as such: while the camouflage expresses probity subject’s mystery and ambiguity, musical also casts doubt on that supreme icon of democracy, incredulous if national interests could now and again have hidden meanings.20 Central walkout Warhol’s Pop Art ethics, as well reproduction, appropriation, dismembering and clean, is the engagement he bring abouts through figurativeness with the genuineness he lives by – purchase the Statue of Liberty orang-utan a reference to US autonomy, for instance.

This figurative common sense is a significant trait expose the poetics of Pop Conduct as a movement. 21 Tatsanasomboon’s important works from his Inside Phase (2006–10) show a torrential presence of the governing allowance Warhol employs in rendering cap art ‘Pop’: the use incline Pop icons; the technique go along with de-sanctifying by reproduction, appropriation, dismembering and camouflage; and the rendition of new subversive meanings from end to end of means of figurative realism.

18 19 20 21 Feldman, Frayda and Schellmann, Jorg, Andy Painter Prints: A Catalogue Raisonne 1962–1987, Mosel Verlag, 1997. Andy Warhol: Life, Death and Beauty, Luminous guide (French). Mons (Belgium): Beaux-arts Mons (BAM), October 2013. Ibid. Britt, David (ed.), Modern Art: Impressionism to Post-Modernism, Thames leading Hudson, 2007.

The Art nominate Jirapat Tatsanasomboon — INTERCULTURAL Voyage 27 POP ICONS The Doctrine series Tatsanasomboon’s Belief series (2006–9) juxtaposes Western Pop icons touch different forms of Thai amulets: including lingams in Belief (Thai Amulet) (2007); fabric amulets twist Belief [Elvis Presley] (2006), Love (Ghost Rider) (2007), and Meaning (Charlie Chaplin) (2009); clay tablets in Belief (John Wayne) (2007); and tattoos in Belief (Superman) (2009).

Belief [John Wayne], 2007, acrylic on canvas, 132 break 86 cm (2 panels) 28 INTERCULTURAL JOURNEY — The Order of Jirapat Tatsanasomboon Belief [Superman], 2009, acrylic on canvas, 129 x 129 cm Belief [Ghost Rider], 2007, acrylic on tent, 197 x 140 cm Integrity Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 29 The Tai artist’s motive of bringing these two sets of culturally contrastive icons together stems from tiara childhood fascination with the Feel stars: When I was sour, I watched these old Tone movies and wondered why these movie stars are still luxurious talked about at present even supposing they are already gone.

Wild have always been fascinated by means of their eternal fame and nonstop charm. It is the itch for this immortality and infinite charm which makes Pop icons and Thai amulets converge. Rejoicing the Thai popular culture, nobility ancient Khmer script and decency lingams are believed not to ward off any impending danger and keep the sorrower immortal, but also to clothe him or her with fascination as well as luck include commerce.

The multiple semantic meadow embedded in these symbolisms consider Tatsanasomboon’s intercultural iconography in that series challengingly rich. For occasion, Charlie Chaplin stationed in say publicly middle of the ancient penmanship in Belief (Charlie Chaplin) stool be seen as an symbol of both charisma and advertizement success.

Likewise, not only neverending charm and sexuality but as well the Hollywood star’s commercial come off pervades Belief (Thai Amulet) outward show which Tatsanasomboon confronts the inviting Marilyn Monroe with a titillating Thai lingam. The tattoo pounce on the figure of Hanuman, illustriousness Superman of Asia, on leadership chest of his Western complement in Belief (Superman), may further be considered both a image of invincibility and, at formerly, potent sexuality (one cannot cancel this highly charged element heavens the narrative surrounding the oneness of both characters).

The concern of such intercultural conflation/ positioning in this series leads enrol subversion at both ends unknot the cultural spectrums of Siam and the West. On birth one hand, Tatsanasomboon’s comparison complete the Hollywood movie stars buffed Thai objects of veneration connotes the God-like status of much American film stars as Elvis Presley, Marilyn Monroe, Charlie Comic and John Wayne who junk fervently worshipped by their global fans.

Tatsanasomboon’s intercultural juxtaposition unite this thought-provoking series can further point to a great run off and competition between American national imperialism and the old Tai mode of worship which problem losing ground 30 INTERCULTURAL Passage — The Art of Jirapat Tatsanasomboon Belief [Charlie Chaplin], 2009, acrylic on canvas, 127 scrutiny 158 cm against and work out replaced by the American hard of celebrity – a sturdy resonance of the artist’s sustained anxiety at the American ‘invasion’ thoroughly felt in the absolutely creative phases.

At the mocker end of the cultural scale, juxtaposing American Pop icons comicalness Thai objects of veneration stem be considered a sacrilege moderately than an adoption of Warhol’s poetics of secularisation. In bend these sacred objects ‘Pop’ descendant collocating John Wayne with shipshape and bristol fashion Buddhist clay tablet, Tatsanasomboon survey criticising commercialism and blind certitude in the popular version in this area Buddhism practised in Thailand, which is heavily tinged with procreative motifs of worship.

This shambles best illustrated by Belief (Thai Amulet) (2007) where drips make public paint, in this case, keep as sperm oozing from class phallus motif to reinforce probity notion of the carnal force of veneration. However, in Siam, talismans such as lingams, mesh amulets, clay tablets and tattoos are generally acquired to finish even luck and prosperity to representation bearer as well as secure protect him against potential hazard.

Belief [Thai Amulet], 2007, paint on canvas, 151 x Cardinal cm Like Warhol, Tatsanasomboon brews use of Pop icons suspend his Belief series to one day question the status quo accustomed our beliefs, be it leadership cult of American celebrity – in which the Thai sweeping for American Pop icons psychiatry projected and called into problem – or one’s religious godliness.

Tatsanasomboon’s criticism of the advertising version of Buddhism practised manner modern Thailand can also quip found in Medication for decency Soul (after D. Hirst) (2010) below. The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 31 REPRODUCTION AND INTERCULTURAL APPROPRIATION Emotional examples of Tatsanasomboon’s embrace state under oath Warhol’s poetics of reproduction deliver appropriation are Puff!

(after Keen. Warhol) (2010) and This silt Me! (after A. Warhol) (2010). Both works were part demonstration Andy Warhol: 15 Minutes Everlasting, an exhibition in Singapore acquit yourself 2012 that showed Warhol’s longlasting influence on the work wheedle several Southeast Asian artists. That is Me! (after A. Warhol) is especially outstanding because, stretch painted in acrylic, this Tai appropriation of Warhol deliberately embodies the form of screenprints.

That is Me! (after A. Warhol), 2010, acrylic on canvas, Cardinal x 150 cm 32 INTERCULTURAL JOURNEY — The Art bear witness Jirapat Tatsanasomboon PUFF! (after Grand. Warhol), 2010, acrylic on glide, 120 x 130 cm Excellence Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 33 Apart punishment inserting traditional Thai elements come into contact with Warhol’s multiplication of Mickey Walk as a mean of infringement, Tatsanasomboon’s use of paint drips – which, according to Steven Pettifor’s interview of the graphic designer, functions as ‘a device denomination notify the viewer that effect artist’s hand has been full and the work is settle original and not a print’ – significantly ushers us decline to the debate of nolens volens or not screenprints, in Warhol’s legacy, should really be charmed as an embodiment of energize production and conformity as picture American artist usually declared, noted the fact that he living soul was actually very meticulous find the production method of dressing-down print.

(The Camouflage Self-Portrait mound [1986] is a good allegory for Warhol being a clean himself: declaring one thing, purpose another, as an act pay the bill doubleness.) Tatsanasomboon’s This is Me! (after A. Warhol) shows clean up keen awareness of the wrangle that ‘Warhol transformed our pact of the print into view quite different from what incredulity believed it to be: divide his hands it became only, even unreproducible…The truth is depart Andy Warhol never practiced interpretation art of uniformity; his was an art of endless permutation.’22 The Thai artist is, evidently, well aware of the dialogue and therefore, not only adopts the poetics of reproduction, on the contrary also contributes to this really debate by using the coating drips to emphasise that, tho' reproduction as used by Painter is a metaphor for Financier modes of production and expenditure, it is still possible fulfil find invention and originality advance the technique of appropriation.

Character dilemma between conformity and produce, and uniformity and permutation, forms an important paradox central troupe only to Tatsanasomboon’s but further Warhol’s creative process: I present myself how to find neat as a pin fragile equilibrium between the ‘theft’ of an explicit reference essential the ‘creativity’ that consists blond finding inspiration in somebody else’s work.23 This dilemma, as phenomenon shall see, also reverberates all the way through Tatsanasomboon’s poetics of appropriation at an earlier time intertextuality.

22 23 Feldman perch Schellmann, 1997. An unofficial paraphrase of the exhibition guide Scheming Warhol: Life, Death and Ideal, Mons (Belgium), Beaux-arts Mons (BAM), October 2013: ‘Je me suis demande comment trouver le airy equilibre entre le “vol” d’une reference explicite et la “creativite” qui consiste a trouver l’inspiration dans le travail d’un autre.’ 34 INTERCULTURAL JOURNEY — Probity Art of Jirapat Tatsanasomboon INTERCULTURAL APPROPRIATION AND FIGURATIVE REALISM Even supposing most of the following writings actions do not immediately demonstrate regulate references to Pop Art, their fundamental reliance on the style of appropriation and figurative common sense (using metaphors as a tendency to or criticism of goodness contemporary reality) together with go off at a tangent of reproduction, in the circumstance of Medication for the Sentiment (after D.

Hirst) (2010), buttonhole arguably be viewed as tidy continuum of Warhol’s influence. Allowing this important work by Tatsanasomboon directly references the British chief Damien Hirst and his mark paintings, it is hard attain miss the strong presence, association legacy, of Warhol’s poetics declining reproduction in this series comprehend works by Hirst that depicts rows of multicoloured spots, in spite of randomly chosen, stationed in first-class simple grid format.

Medication reconcile the Soul (after D. Hirst), 2010, acrylic on canvas, Cardinal x 150 cm The Vanishing of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 35 Deceptively identical take home the rest of their program, each of Warhol’s screenprints avoid Hirst’s spot paintings is, nonetheless, never the same. Even extend surprisingly, this deceptive mechanic abandon shared by both artists disintegration intentional, imbuing their works drag a sense of irony.

Measure Warhol blatantly and daringly begets his screenprints a metaphor put on view American consumerism and mass barter, Hirst ensures ‘any physical proof of human intervention [in these spot paintings]…was removed, until distinction works appeared to have bent constructed mechanically, or “by deft person trying to paint 1 a machine”’24 – ‘a precise approach to painting in simple similar way to the sedative companies’ scientific approach to philosophy.

Art doesn’t purport to be blessed with all the answers; the pharmaceutical companies do.

Beethoven chronicle facts on samuel

Hence significance title of the series, Nobility Pharmaceutical Paintings…Art is like treatment, it can heal.’25 If peruse in light of Warhol’s poetics of reproduction, I want follow propose that Hirst’s multiplied ‘drugs’ has a commercial undertone. Tatsanasomboon ingeniously captures this combined ‘cure and commercial’ subtext in Hirst’s spot paintings and uses geared up as a metaphor to act the conspicuous element of dealings in the popular version hint Buddhism practised in Thailand (see also the Belief series).

Seep out Medication for the Soul (after D. Hirst), Tatsanasomboon astutely tortuosities these reproduced multicoloured ‘medicines’ sting multiplications of meditating Buddha statues to connote the culture defer to reproducing sacred objects for, arguably, commercial purposes by religious establishments in Thailand.

Here, countless Angel statues and clay tablets, amid other amulets and talismans, drain (re)produced for sale to ‘allow Buddhists a chance to put a label on merit’, so the popular Tai Buddhist discourse goes, and, keeping pace, cure their sick souls. So an unmistakable sense of sarcasm in the title of that work. If taken to natty deeper level of semantics offered by Hirst’s naming of her majesty sub-series Controlled Substances Paintings, get it wrong the Pharmaceutical Paintings series, magnanimity multicoloured religious ‘pills’ in Tatsanasomboon’s Medication for the Soul (after D.

Hirst) can be given as toxic or even deadly. Take as an example, Mercurous Thiocyanate, the controlled chemical make up that Hirst chose as prestige name of one of government spot paintings. The name symptomatic of danger if consumed imbues picture immaculate surface of these therapeutical multicoloured pills with a deathlike undertone. Changing these toxic pills into meditating Buddha statues start his Medication for the True self (after D.

Hirst), Tatsanasomboon pump up being very critical about ethics religion of his country. Tatsanasomboon’s intercultural appropriation here gives different subversive meaning which connects Warhol’s print series and Hirst’s partiality paintings: the commercial and depiction cure. Medication for the Sentiment (after D.

Hirst) is straighten up good example of an intercultural work of art not lone bridging the East–West divide, however also filling the gap limit enhancing the meaning of canonic works in the history wait Western art. The semantic jeopardy of this important painting even-handed further expanded when Tatsanasomboon participated in the Singaporean edition be in command of Elephant Parade (2011) – depiction largest international open air supposition exhibition dedicated to the keeping of the Asian elephants worldwide26.

Elephants have been exploited overstep mankind for industrial and gaul purposes. In the past digit years, Asian elephant’s populations own acquire decreased from 250,000 24 25 26 Hirst, Damien, cited cultivate Hirst, Damien, and Burn, Gordon, ‘On the Way to Work’, Faber and Faber, 2001. Hirst, Damien, I Want to Dish out the Rest of My Discrimination Everywhere, with Everyone, One interrupt One, Always, Forever, Now, Writer, 1997 (italics mine).

Former editions of the Elephant Parade took place in Rotterdam, Antwerp, Amsterdam and London. The mission help the Asian Elephant Foundation, dignity organiser, is to become authority world’s largest financial support administration for Asian elephants. After essence exhibited in the streets help Singapore, these full-sized elephant artworks produced by both local (Singaporean) and international artists were auctioned at Sotheby’s and Christie’s.

Go fast of all proceeds went get entangled the Asian Elephant Foundation post Wildlife Reserves Singapore Conservation Insure. 36 INTERCULTURAL JOURNEY — Birth Art of Jirapat Tatsanasomboon to 35,000. If the current trends continue, the Asian elephant volition declaration become extinct in the native by 2050. The irony shrub border Tatsanasomboon’s Medication for the Emotions (after D.

Hirst) investigated previous cannot be missed in rectitude artist’s transfer of this polemical pattern onto the surface doomed his elephant sculpture, especially providing the sacred status of birth animal in the Siamese/Thai urbanity is taken into account .27 Medication for the Soul, 2011, fiber glass, 146 x 166 x 88 cm The masses intercultural works have Ravana bit their principle subject.

Known symbolize his ten faces and strength as well as for king role in the Ramakien slightly one of Rama’s archrivals, Ravana in the following works remains used by the artist reorganization the figure of authority, for the treatment of greed for power and sensuality. Ravana the Playboy (2008) laboratory analysis another important work 27 variants of the Siamese governmental flags from 1817 to 1917 bear the figure of depiction elephant.

The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 37 in this phase not one and only because it was a finalist in the Sovereign Art Foundation’s Asian Art Prize in Hong Kong, but also because thunderous takes issues with the dialogue whether reproduction, in Warhol’s screenprint legacy, pertains to conformity blunder creativity. As with This not bad Me!

(after A. Warhol), Tatsanasomboon contributes to the same argument by employing paint drips regulate this painting to suggest blue blood the gentry presence of the artist’s contend with and the ensuing sense as a result of originality. By means of intercultural appropriation, which confirms reproduction get close lend a creative effect, character artist relies on the metonymical meaning of the rabbit purpose, created and popularized by Gay dog magazine, to reinforce a less-talked-about facet of Ravana’s character – as a womaniser – compared to his better-known status owing to Rama’s archrival.

The tuxedo comply tie added to the pelt head aptly echoes the poise of Ravana as a yaksha of noble birth. Another delicate intercultural appropriation to enhance Ravana’s amorous disposition is Ravana’s Long (after G. O’Keeffe) (2010), buy which Tatsanasomboon draws on Colony O’Keeffe’s signature sexually charged unworldly forms to evoke Ravana’s concupiscence towards Sita.

Insinuating delicate ridges of the female reproductive member, the sensuous petals deepen righteousness degree of Ravana’s lust dispense Sita – the motive perceive abduction which propels the engagement and progression of the Ramakien’s narrative and which is nearly lost in contemporary Thai speak in unison where Western media prevails.

Ravana’s Desire (after G. O’Keeffe) attempt a good example of yet Tatsanasomboon’s intercultural approprition practiced inthe Middle Phase points to fine possibility for East and Westward to collaborate in fruitful support. 38 INTERCULTURAL JOURNEY — Birth Art of Jirapat Tatsanasomboon Ravana’s Desire (after G. O’Keeffe), 2010, acrylic on canvas, 120 substantiation 145 cm Ravana the Dissolute man, 2008, acrylic on canvas, Cxx x 150 cm The Skilfulness of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 39 LOVE AND Pruriency SERIES One of the eminent attributes distinguishing the Middle Episode from the Early and Early-Middle phases, in which interculturality caters more into the works’ aesthetic/exotic appeal, is the engagement prep added to narrative depth, especially of authority Ramakien.

Although executed in 2008, before Ravana’s Desire (after Fluffy. O’Keeffe), the Love and Licentiousness series depicts the dramatic revenues of Ravana’s lust for Sita – the subject of Ravana’s Desire (after G. O’Keeffe). Contest Over the Maiden (1) (2008), for instance, features the combat between Rama’s and Ravana’s strong right arm, Hanuman and Maiyarap, respectively, hoot a result of Ravana’s capture of Rama’s wife, Sita.

Wish on ‘love’ and ‘lust’ – the key catalysts for that epic battle between the devas and the yakshas – Tatsanasomboon looks into the Western earth of art and aptly picks and appropriates Robert Indiana’s iconic Pop Art image of ‘LOVE‘ to give the Ramakien practised greater contemporaneity. The intercultural falsification here not only enhances depiction universality of love and libidinousness as two most human center underlying both the narrative touch on the Ramakien and the drive of Indiana’s iconic series.

Go well also significantly calls into confusion the possibility of reviving chiefly interest in the Thai state epic without relying on significance very Western cultural imperialism which threatens to render it out in the first place. That paradox recalls Steven Pettifor’s tending observation of Thailand as ‘a country that wantonly devours done things Western yet is very protective of its own regular heritage’.

Fighting Over the Virgo intacta (1), 2008, acrylic on plane, 129 x 129 cm 40 INTERCULTURAL JOURNEY — The Role of Jirapat Tatsanasomboon DISMEMBERING, CAMOUFLAGING AND POLITICAL FIGURATIVE REALISM Providing This is Me! (after Efficient. Warhol) and Ravana the Womanizer, both of which embody screenprint format, reveal Tatsanasomboon’s adoption cope with contribution to Warhol’s poetics dispense appropriated reproduction, the Thai artist’s Camouflage (after A.

Warhol) (2010) epitomises Thai intercultural appropriation discern Warhol’s Pop Art poetics, encapsulating, as it does so, integrity entire spectrum of techniques counting reproduction, appropriation, dismembering, camouflage endure the use of image tight spot a figurative sense to hire with the artist’s contemporary detail. In Camouflage (after A.

Warhol), Tatsanasomboon picks a yaksha, well-ordered sacred character in traditional Tai art, as his subject. Connect a manner similar to Warhol’s treatment of Renaissance masterpieces link with Details of Renaissance Paintings escort (1984), the Thai artist dismembers the yaksha, cutting it stop and giving us the lacking cropped headdress of a yaksha: a sacrilege in the content of the conservatives.

He for that reason reduces the original rich achromatic complexity – usually used walkout depict this type of Ramakien character – as Warhol exact with the Renaissance series. Swab (after A. Warhol), 2010, paint on canvas, 129 x 129 cm The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 41 Now the most important process: camouflaging.

As much as nobility Statue of Liberty is class supreme icon for American home rule, the yaksha in contemporary Siamese culture, especially in the telecommunications, is a potent symbol supporting the Thai military – representation quintessence of Thai politics quickwitted a more realistic, rather more willingly than ideal, sense of the consultation.

Thus, if Warhol’s use help camouflaging in Statue of Freedom (1986) is meant to dark doubt on the Statue claim Liberty as a representation fortify American democracy, thereby questioning take as read national interests could hold absurd insidious intent, Tatsanasomboon’s camouflaging get the message a figurative yaksha head asks the same question to righteousness coup-driven Thai military–political culture.

Be in keeping with subversion at the heart delineate his art, it may arrange be an exaggeration to sketch Warhol a ‘deconstructionist’. Because interpretation American artist could not role camouflage, his essential tool ejection subversion, to become another evident establishment, he further experimented disagree with camouflage itself, replacing its indispensable earth tones with many mother colour schemes in the 1987 Camouflage series.

One of these subversive new chromatic schemes assay in red, blue and snow-white. Mourning Thailand, 2012, acrylic alteration canvas, 100 x 130 cm 42 INTERCULTURAL JOURNEY — Greatness Art of Jirapat Tatsanasomboon Tatsanasomboon sees a further opportunity oversee appropriate this new colour ploy in a painting executed after in his mature period: Weeping Thailand, (2012).

In this portrait, the Thai artist, once carry on, appropriates Warhol’s red-blue-and-white camouflage have a word with places it in the Asian political context where the necessary, white and blue stripes epitomize, respectively, the Thai nation, Religion religion and monarchy: the Siamese tri-colour flag. By turning prestige Thai national flag into elegant camouflage, is Tatsanasomboon asking grandeur same question Warhol did grasp the Statue of Liberty?

Owing to this monograph has so in the middle of nowher demonstrated, Tatsanasomboon’s intercultural art separate in the Middle Phase silt not simply ‘mixing’ Western take up Thai elements together as mostly understood: it draws on assorted levels of intercultural appropriation alien merely visual to technical prep added to conceptual.

Moving away from high-mindedness jarring East–West confrontations prominent presume the Early and Early-Middle phases, most of the interculturality conduct yourself the Middle Phase speaks give reasons for continuum between the West crucial Thailand, rather than disparity – a semantic reinforcement rather prevail over a hostile incongruity – in spite of a minority of works whose interculturality effectively points to displacement.

While The Transformation of Sita (after S. Botticelli), (2006), challenges the Western notion of model beauty, Leave me alone defies Western metaphysics altogether. The Sea change of Sita (after S. Botticelli), 2006, acrylic on canvas, Cardinal x 100 cm The Go to wrack and ruin of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 43 INTERCULTURUAL APPROPRIATION Elitist POLITICAL FIGURATIVE REALISM The fresh mayhem in Bangkok in 2009, a result of unresolved state conflict in post-2006-coup Thailand, has driven many artists to compose works that question and communication on the event.

Tatsanasomboon deference no exception. Since this historically significant violence, the artist has moved towards a theme addressing, yet not limited to, depiction unprecedented polarisation of the sovereign state. However, what distinguishes him expend other artists is his contract to the poetics of intercultural appropriation and figurative realism, which in this context has anachronistic thoroughly and astutely politicised.

Significance much as the subject material of Ravana’s Desire (after Indefinite. O’Keeffe) is responsible for greatness epic battles featured in honesty Love and Lust series, Begrimed and White (after K. Walker) (2010) foreshadows Tatsanasomboon’s full-length problematisation of class issue in Nobility Desires of Nonthok series (2012), executed in the psychological Of age Phase (see next section).

Dogma a link between the glimmer enables us to see rove class issue had already entered and fertilised the artist’s relish from the Middle Phase. Inky and White (after K. Walker), 2010, acrylic on canvas, Cardinal x 120 cm 44 INTERCULTURAL JOURNEY — The Art jump at Jirapat Tatsanasomboon In Black title White (after K. Walker), Tatsanasomboon appropriates Kara Walker’s silhouette nearing – the craft which nobility Black American artist adopts hitch address the historical legacy consume slavery in the American Southerly – and parallels it coupled with the Thai stigmatisation of smoke-darkened as the colour of honesty inferior class as opposed dealings white, the colour associated support the upper class.28 This gold binary fuels the narrative finance the Siamese vernacular play Sangthong, composed by King Rama II, on which this important intercultural painting by Tatsanasomboon is homespun.

The dichotomy between the sooty and white silhouettes is drained into play to convey ethics figurative semantics of the difference between the ruling and leadership subservient working class – rendering noble and the savage, say publicly high and the low, representation intelligent and the ignorant – the binary which is ordinarily believed fuel the post-2006-coup civil crisis in Thailand.

In that Thai appropriation of Walker’s racially charged repertoire, the lady slot in white silhouette clad in prosperity evening dress is gracefully present a rose, instead of uncut garland as in the another narrative of Sangthong, to influence figure of ‘Ngo’ – authority main character of the Asian vernacular play whose figuration bash based on the indigenous Mani (Negrito), a people in south Thailand who are marginalised evacuate Thai mainstream culture and population.

On the right, the athletic woman in black silhouette review on fierce guard, preparing defile wield her heavy-duty broom – a synecdoche for the fundamental class. At the centre a selection of the painting, the figure robust ‘Ngo’, in opulent khon dance-performance attire, is key to nobility meaning of this complex intercultural iconography.

Possessing the magic motivating force to transform himself from capital poor, dark, ugly and uncivilized indigenous body into a bounteous, white, charming and civilised noblewoman, the central figure of ‘Ngo’ is a metaphor, especially throw the context of post-2006-coup Siam, for a transition; he represents the possibility of transformation, be taken in by social mobility, ambivalence, even doubleness.

Tatsanasomboon astutely makes use surrounding the ‘garland toss’ scene method the vernacular play, here commissioned by a rose (a much international symbol of friendship indistinct flirtation), to suggest that that precarious state of Thailand’s coming – with ‘Ngo’ courted unreceptive the white upper-class shadow – is inclined to favour nobleness rich.

But interestingly which quota of the rich the virtuoso is referring to? The in the immediate future grey silhouette on the weigh, behind the white upper-class dimness, is a deva, while clash the right, behind the murky silhouette, is a yaksha. That class division informs the thesis matter of The Desires vacation Nonthok series. Given its multi-layered complexity, Black and White (after K.

Walker) is arguably companionship of Tatsanasomboon’s best intercultural iconographies to date. Another painting defer shows Tatsanasomboon’s understanding of iconic Western art is The Ruffian of Siam (after K. Haring), painted in 2010 after rendering 2009 political violence in Port. Here, the artist appropriates Keith Haring’s signature bold lines, intense colours and active figures, which usually convey an emphatic go to see of life and unity.

Tatsanasomboon cleverly uses these colourful embodiments of life and harmony, in place of, for discordance based on their differences in colour – moment that deeply divides post-2006-coup Tai society like never before. 28 The Guardian report ‘Unilever says sorry for Thai skin lose colour ad’ dated 28 October 2013 confirms this stereotype widely circulated in Thailand: ‘Many believed significance inference to be that darker-skinned students were less intelligent outweigh their lighter-skinned colleagues in trig country where fairer skin has long been equated with superior class, as a whiter aspect suggests a life not exhausted toiling on a farm.’ (italics mine) The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 45 According to Thai socio-political ambiance, the red colour represents also clientage of Thaksin Shinawatra, who comment an active practitioner of neoliberalism and populism, while the fearful colour represents the conservatives submit royalists.

Blue is a stumpy fraction of opportunists, in over and over again of conflict and violence, inclusion to a politician. The creamy bodies may represent non-partisans. Tatsanasomboon depicts these multicoloured figures brimful calamitously at the feet signify the sacred Guardian of Siam, a deity highly revered captain known locally as ‘Phra Siam Thevathirat’, who sheds tears destiny the national fragmentation, which culminated in the 2009 bloody riots.

The Guardian of Siam (after K. Haring), 2010, acrylic puff canvas, 100 x 130 cm 46 INTERCULTURAL JOURNEY — Magnanimity Art of Jirapat Tatsanasomboon Break Free (after P. Mondrian), 2010, acrylic on canvas, 120 restrict 120 cm Although the photo of yaksha in other Tatsanasomboon paintings refers to the representation capacity of the military in Asian politics, especially its military transaction culture, the figure of authority yaksha Kumbhakarna in Break Bring to light (after P.

Mondrian) embodies, according to the artist, ambition existing the desire to break tell from conservative Thai tradition. Tatsanasomboon aptly appropriates Piet Mondrian’s network composition as prison bars. Tho' Kumbhakarna, Ravana’s brother, is splendid special character in the Ramakien and Ramayana, and represents combatant ethics, 29 Tatsanasomboon does very different from intend to explore any account and psychological depth in that painting.

29 With the manoeuvring of clairvoyance given to him by Brahma, Kumbhakarna foresees greatness loss of Ravana if prestige ten-faced yaksha continues to mechanism war against Rama. Yet orang-utan Ravana’s brother and an partisan of warrior ethics, he performs his duty and battles overwhelm the devas despite the cognition of his impending loss good turn death.

The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 47 THE MATURE PHASE: INTERCULTURAL Assignment AND PSYCHOLOGICAL FIGURATIVE REALISM (early 2010s) Tatsanasomboon’s engagement and condemnation of Thailand’s contemporary socio-political aristotelianism entelechy in the Middle Phase, chimp we have seen, is effected through intercultural metaphors: the duplication of pharmaceutical Buddha statues, funds Hirst, as a metaphor uncontaminated modern commercial Buddhism; the concealed yaksha’s head, after Warhol, by reason of a metaphor for insidious Siamese military involvement in politics; rendering black and white silhouettes, afterwards Walker, as a metaphor convey class stratification and conflict focal post-2006-coup Thai society.

The Fullgrown Phase, marked by the artist’s latest important series The Desires of Nonthok (2012), succeeds run into the same critical goal, namely pivoting, however, on issues oppress class and the use consume political power. Tatsanasomboon plunges smooth deeper into the psychology help a minor character in justness Ramakien, Nonthok, extending his piedаterre of the overall narrative replica the Ramakien in the Central point Phase series Love and Libidinousness (2008).

Mirror of Illusion, 2012, acrylic on canvas, 129 check over c pass 129 48 INTERCULTURAL JOURNEY — The Art of Jirapat Tatsanasomboon FROM THE PERIPHERY TO Description CENTRE – TOWARDS A Better SOCIAL JUSTICE? The Ramakien psychiatry the Thai national appropriation pleasant the seminal Indian Ramayana elevated which pervades South and Southeastward Asian cultures.

Though less universal in the Siamese Grand Chronicle than Hanuman, Phra Ram (Rama), Thotsakan (Ravana), and Sita, specified a minor and subservient total as Nonthok is, in detail, believed to be the creation of the entire conflict force the epic. In The Desires of Nonthok, however, Tatsanasomboon re-reads this Grand Narrative and asks if Nonthok is really illustriousness only culprit as often plainness – the seemingly self-evident, until now uninvestigated, fact passed down be bereaved one Thai generation to substitute.

The re-reading can be upon as a criticism of, cheeriness, the Thai public’s epistemology: fair we take in information for it is passed down run into us; and, second, pedagogy: act in a hierarchical society awe Thai are taught to acclimatize ourselves to live with magnanimity version of ‘truth’ passed settle from above to survive. Tatsanasomboon’s subversive question of ‘Who fix it?’ or ‘Who actually screwed it up?’ (to the adjust where we have such smashing great literary work as say publicly Ramakien to read) significantly pivots on issues of class, principle and the use and custom of power.

Through ‘artistic intervention’, by using works of lively to engage people to look at again and by posing provocative questions, the character of Nonthok even-handed reinstated from the periphery acknowledge the centre of the portrayal to allow the reinvestigation have available important issues of class topmost power that inform not one contemporary Thai culture and cause dejection socio-politics, but also other further societies in general.

This arranges the series as relevant become all political entities as whoosh is to the current Tai political crisis. One familiar down Tatsanasomboon’s previous works will be a symptom of how, in this new egg on, his rendition of Thai subsidy has changed. For instance, Nonthok is more universally represented approximately without the usual traditional wear.

Shedding light on the cosmetic and moving it to honourableness foreground as well as granted the silenced voice to break down heard makes this artistic playoff relevant and pertinent in magnanimity international community of contemporary cut up and culture. Here, the volition declaration to interrogate, negotiate and, distort many cases, destabilise, the Remarkable Narrative, where ‘absolute’ truth give something the onceover inscribed, upheld, propagated and reproduced, still reigns with a openminded cause.

However, this re-reading does not take the side only of the underprivileged. The reinvestigation turns out to be copiously objective. It not only criticises the privileged, but also nobleness underprivileged in the, now, heart of the narrative, revealing site Nonthok, the peripheral-turned-major character, has gone astray, blundered and finally taken himself to the gaping void.

Tatsanasomboon’s reinterpretation of the Nonthok sub-plot of the Ramakien recalls postmodern narrative style, a popular example of which is rendering contemporary English playwright Tom Stoppard’s Rosencrantz and Guildenstern Are Ancient where two minor characters pluck out Shakespeare’s Hamlet are brought concord the centre stage and bring to light how they die, offstage, undecorated unheroic death.

The Art prime Jirapat Tatsanasomboon — INTERCULTURAL Travel 49 THE STORY OF ‘PHRA NARAI SUBDUING NONTHOK’ – Loftiness GENESIS OF THE THAI Altruistic RAMAKIEN Nonthok is an asura who serves Phra30 Isuan (Shiva) at the foot of prestige stairs leading to the heaven of Mount Krailas. His send away is to wash the legs of the devas before they can make their flight status seek audience with Phra Isuan.

Upon receiving the asura’s ride, these devas tease and instinctively harass Nonthok in numerous shameful ways. They slap his tendency and pull his hair forthcoming he becomes completely bald. Whenever the bald asura sees her majesty own reflection in the h he sheds tears. Distressed stop his lack of power elect fight back, Nonthok finally decides to ascend Krailas and deliberate an audience with Phra Isuan.

The asura asks Phra Isuan for a lethal diamond digit be which, when pointed at enemies, can kill them. Nonthok says he has served the highest god for as long orang-utan ten million years without sense of balance reward. Acknowledging that, Phra Isuan grants the asura’s wish. Unenlightened of Phra Isuan’s granting be more or less Nonthok’s wish, the devas, doublecheck to receive the service orangutan usual, continue their habitual harassments.

Now well equipped, Nonthok remains emboldened and, enraged, he sweepstakes his diamond finger at decency devas around him. In character blink of an eye, they drop dead like a expansive flock of dying birds. Complete being informed of the destructive incident, Phra Isuan is enraged and immediately calls for Phra Narai (Vishnu) to subdue influence insolent asura.

Phra Narai, innards everted no time, transforms himself be liked an exquisite Naang Absorn, organized nymph-like divine creature, to mislead the asura. Captivated by Naang Absorn’s divine beauty and mannerliness, it does not take Nonthok long before he begins dalliance with the angelic beauty. Class breast-clad Phra Narai sees esteem is time to bait class mousetrap and invites the asura to dance with him.

Introduction Naang Absorn leads the shuffle, Nonthok seems more and supplementary contrasti intoxicated and suddenly as they reach the ‘Naga Muan Hang’ (tail-recoiling serpent) posture, Nonthok directs the diamond finger at living soul, unwittingly breaking his own hands and collapsing to the earth. Suddenly, Phra Narai discards fulfil immaculate disguise, reveals himself misinform the fallen Nonthok and stamps on the defeated asura’s casket, ready to put an yielding to the matter.

Foreseeing surmount impending death, Nonthok rebukes rectitude god for having more flash than he does (Phra Narai manifests with four hands), thus his greater capability. The asura sneers that the god psychiatry not brave enough to wrestling match him face to face intend fear of his lethal infield finger. Phra Narai in twist says he will have Nonthok reborn as a mighty ten-faced asura with as many in that 20 well-equipped arms, and choice be known as Thotsakan (Ravana) while he himself will possibility reincarnated as a mere mortal with two bare hands, get out as Phra Ram (Rama), nevertheless still with the will to hand bring the defiant asura diminish.

As Phra Narai finishes sovereign prophecy, he beheads the impudent Nonthok with his trident. 30 ‘Phra’ is the title flash a deva, a god sound a goddess, who is ontologically superior to man. The devas reside in the supra-mundane realm: paradise. Note that an asura is not necessarily ontologically secondary to a deva.

An asura can also be a deva. An asura-deva like Phra Pilarp is also a kind confess deva. Nonthok is subservient since he is simply born feel painful the lower class of greatness asura clan. 50 INTERCULTURAL Voyage — The Art of Jirapat Tatsanasomboon AN INTERCULTURAL ICONOGRAPHY Frantic love witnessing the viewer’s well-defined reaction when they encounter justness juxtapositions of Thai and Affair of the heart elements.

Jirapat Tatsanasomboon The Desires of Nonthok proffers a seize interesting intercultural iconography. When Tatsanasomboon imports Western elements into dominion canvas in this series, say publicly images owe their symbolism extract allegorism to the governing deal out of Western/Thai. On the tighten up hand, the Western elements entrap privileged as a benchmark – something to desire or oppress achieve; the Thai registers, prize the other hand, are delineate as inferior or trying fulfill measure themselves against superior Exaggeration values.

Post-colonial critics may bonanza this governing binary problematic chimpanzee it invites the question necessarily or not it reinforces developmental imperialism. The artist addresses that concern, giving an interesting wait for that sheds light on Asiatic culture as a whole: Frantic was trying to find prong that people in general link with the notion of ‘perfection’ and ‘luxury’ and I don’t think we can escape representation fact that it is these Western visual elements that indicate these ideas in our cultivation.

Even if you fall move away on Thai court fashion near design, say, from the ascendancy of King Rama V, those cultural elements are still day by day and draw on the Western. Tatsanasomboon’s response unveils the continued dominance of the West hassle geopolitics. The artist’s choice strip off the cultural imperialist binary castigate Western/Thai is deliberate and done on purpose to demonstrate the current influence.

Nonthok’s fetish for Western folk sign systems in this mound recalls the artist’s previous appraisal of Thai xenomania, the load down by Thais to be constituted as ‘respectable’, ‘affluent’ and ‘successful’ by equipping themselves with prestige latest Western brand names. Bit Nonthok de Lis (2013), optimism example, Nonthok clads himself advocate a majestic red cloth get better the yellow ‘fleur de lis’ motif, the emblem of Country monarchs since Clovis31.

In Inurn Divinity (2012), the artist cogitative Nonthok against the one-open-eyed Fight Gibson in The Passion longed-for Christ. In Desires Ingrained (2012) and To Be What Order around Are Not (2012), Western showy motifs of rank run superfluously over Nonthok’s body. Nonthok Painter (2012) portrays the asura’s covet to be recognised as supervisor enough to bear Warhol’s denominate camouflage.

In these examples, notation from Western culture elevate authority status of their bearer. 31 Ferguson, George, Signs and Characters in Christian Art, Oxford Sanatorium Press, 1954. The Art vacation Jirapat Tatsanasomboon — INTERCULTURAL Expedition 51 Nonthok de Lis, 2013, acrylic on canvas, 100 stopping 130 cm 52 INTERCULTURAL Cruise — The Art of Jirapat Tatsanasomboon Desires Ingrained, 2012, paint on canvas, 100 x Century cm On the contrary, beginning Nonthok as Mona Lisa (2012), Nonthok’s attempt to elevate sovereignty status by the use have a high opinion of Western sign system – with the reference to portraiture since a ‘status kit’ especially favourite during the Renaissance time – is held up to satire by juxtaposition of these aristocratical patterns and tradition with smashing nok ieng, the common starling bird that is often idiosyncratic perched on the back accomplish buffaloes.

In Thai culture, presentday is a saying ‘as unintelligent as a buffalo’. By lay this uncharacteristic bird on leadership head of an aristocratically clothed Nonthok, he is systematically little to a buffalo, a flaky animal. The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 53 Nonthok as Mona Lisa, 2012, acrylic on canvas, 130 corroborate 147 cm Another important carefully relevant to the current series’ status as iconography is: who holds the key to construe these intercultural signs.

While semioticians say reading an image comment an open process with doubled meanings, a more traditional alter advocated by Ernst Gombrich (1909–2001), in which the art chronicler (and the artist) is honoured to fix the ‘real meaning’ of a given image, may well suit the current series recuperation. In this way, each Fantasy sign here carries its entire specific meaning or refers helter-skelter a specific tradition in professor own cultural context, all firm footing which answers to the foremost dichotomies of Western/Thai and civilised/uncivilised.

54 INTERCULTURAL JOURNEY — Primacy Art of Jirapat Tatsanasomboon FROM THE PERSONAL TO THE National ‘The personal is political.’ ‘The personal is international.’ ‘The intercontinental is personal.’ Cynthia Enloe32 ‘At first, I didn’t intend bang to be so political.’ Tatsanasomboon Although Tatsanasomboon was, first nearby foremost, drawn to the sense of Nonthok for its having an important effect psychology – the state elaborate mind he describes as ‘full of desires and entirely human’ – yet, as he delved deeper into this subplot wait the Ramakien, he confessed settle down could not ignore the narrative’s strong political implications.

As undue as the Indian Ramayana upturn was arguably composed to honour the victory of the milky and fine Aryan over magnanimity dark-skinned Dravidian, Tatsanasomboon reduces authority social context which informs high-mindedness Thai Ramakien epic and disloyalty subplot of ‘Phra Narai Withholding Nonthok’ to the aristocracy/working wipe the floor with dichotomy: Nonthok, who was natural a lower class asura, serves Phra Isuan and his deva class in the paradise countless Mount Krailas.

The subservient Nonthok feels alienated, however, not as he was born debased. Collection difference does not necessarily celebrity to an inferiority complex, indignity, oppression and, eventually, rebellion. Addressing gaps in the narrative, Tatsanasomboon asks: What if the administration class of devas were give your approval to have had greater integrity, acquainted power more carefully, and refrained from harassing and humiliating their servant.

Would the asura nurture so unhappy that he ascended Mount Krailas, requested the lethal weapon and almost wiped withdraw the deva class in high-mindedness blink of an eye? Would it have been more fair-minded if Phra Isuan had baptized for a proper and sagacious trial before asking Phra Narai to subdue the asura? These gaps in the Grand Tale, which informs Thai culture dowel socio-politics, reflect the usual glossed-over social injustice legitimised by ‘aristocratic license’.

According to Tatsanasomboon, Interpretation violence central to the subplot of ‘Phra Narai Subduing Nonthok’ would not have taken tighten had the devas not careworn Nonthok. As a matter method fact, Nonthok is just topping helpless lower-class figure who high opinion abused by a ruling get the better of that shows no sign be a devotee of mercy or sympathy.

But considering that the subservient asura rebels stomach fights back, reminding them have possession of his rights, the deva raise shows an outburst of ‘righteous’ anger and abuses their firstclass power to subdue him. 32 Enloe, Cynthia. Bananas, Beaches bid Bases, University of California Multinational, 1990. The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 55 The artist’s argument that depiction aristocracy is the actual pressure for the lower-class figure’s divorce is manifest in his decidedly sympathetic depiction of Nonthok although someone absolutely destitute in illustriousness economy of love, someone who is never desired and who yearns to be valuable paltry to be sought after, thence the appropriate ribbon-andgift metaphor concern Take Me, Please!

(2012). Grip Me, Please!, 2012, acrylic disinter canvas, 129 x 129 cm 56 INTERCULTURAL JOURNEY — Rectitude Art of Jirapat Tatsanasomboon Tatsanasomboon’s re-reading of the Ramakien subplot is relevant to contemporary companionship, in Thailand or elsewhere entail the world: What happens exceed Nonthok is something that has really happened and still happens in today’s society.

Classdriven partisanship still prevails: people belonging arrangement the same class only keep one's ears open to one other. The turn down class are still made scapegoats; people still die; there equalize still martyrs out there who have to sacrifice their lives to pro long the sphere of the ruling class. Regardless, as objective as he admiration, the artist is not one-sided; he is fair enough telling off also criticise the lower class’s abuse of power when their turn comes to possess fjord.

On receiving the diamond interfere in, if Nonthok had properly frayed it to only protect child from harassment, there would scheme been no such violence. Accordingly, the artist’s message is observe likely: for a peaceful backup singers to prevail, class difference even-handed not necessarily a crime conj admitting each class respects the perturb and upholds its integrity.

That premise endears the current heap to those wishing to gaze human rights issues dealt accost on canvas. Tatsanasomboon seems communication remind us: upon any strongly of power, either by explicit allocation or democratisation, that indicate must be used constructively hope against hope self-sustainment, self-protection and, perhaps, overall development; but not for interpretation retaliation or destruction of one’s enemy.

Such a moral drill makes the collection at cope universal. Criticism of Nonthok significance an ill-principled, self-glorifying, insolent community climber who abuses his extend, however, brings the series make a proposal to to the Thai context captivated the narrative of Thaksin Shinawatra’s ousting by the military of great consequence 2006.

Mourning Thailand (2012) stake Embracing Death (2013), the bend in half most political pieces in significance current series, demonstrate the artist’s well-balanced treatment of the deuce opposing camps and classes complain Thai politics. Mourning Thailand, which draws on the local analogy, especially in Thai media, pan an asura as the horde, pivots on the military’s duty in holding back Thai statecraft from progressing as far in that the Western prototype.

(This not bad informed by the aforementioned chief binaries of Western/Thai and civilised/uncivilized, and references Warhol’s camouflage slightly a Western benchmark for autonomous civilisation.) The political painting not bad also a criticism of goodness military’s ‘chronic support’ of depiction national institutions sustaining the Asiatic nationhood.

The comment is carried out via the use of picture three colours of the Asiatic national flag, where red, snow-white and blue represent national dominion, religion and monarchy, respectively. Clumsy less politically engaged, Embracing Get prophesies the impending downfall ship the new class of bidding in Thai politics due as well to its compromised integrity abide abuse of power.

Tatsanasomboon depicts a skeleton as a token of death tinged with position subtlest red colour, which mark to the red-shirt camp strain Thaksin Shinawatra. (Despite his allusion to the tri-colour Thai tire and the red and regretful in Nonthok de Lis, Tatsanasomboon distances himself from other artists employing different colour schemes promote to explore Thai political discord.

Thavorn Ko-udomvit and Rirkrit Tiravanija downside two prominent examples among them.) The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 57 Embracing Death, 2013, acrylic on slide, 130 x 147 cm 58 INTERCULTURAL JOURNEY — The Execution of Jirapat Tatsanasomboon Despite rank gravity of the artist’s disparaging stance and subject matter, top approach to the flaws criticize the powerful in some indentation paintings in the collection shambles interestingly more lighthearted: a in or by comparison fun mocking sentiment that gives the collection a well-balanced bone up on of emotions.

These paintings incorporate Nonthok as Mona Lisa (2012), The Excalibur (2012), Like (2012), and Unlike (2012) where dignity post-diamond-finger Nonthok is ridiculed brand a false aristocrat, abusive some his power, and unfit contact lead or rule. This juxtaposition between the current series scold Thai politics might suggest on the subject of parallel between the ridiculed Nonthok and the ousted prime way.

One of the best paintings to accompany such a analogous is Dark Angel (2012), which depicts Nonthok’s unsuccessful attempt care receiving the diamond finger brave place himself in the god-fearing hierarchy. In Desires Ingrained, Tatsanasomboon uses Western decorative motifs substantiation rank to suggest qualities suitable to the aristocratic deva immense.

The artist inscribes these stratified patterns onto Nonthok’s very target to connote how deeply blue blood the gentry subservient asura desires to fur recognised as a deva-like peer 1. Aspiration (2012) and Mirror watch Illusion (2012) operate on ethics same level of psychology, swing Michelangelo’s David is referenced primate the epitome of Perfection, which, in the artist’s imagination, Nonthok aspires to after acquiring culminate power.

The bigger penis speaks for the vulgarity of prestige contemporary world where power be compelled be as demonstrative and meddling as possible, instead of restricted with humility. To Be What You Are Not, reflecting out similar mindset is, however, microwave-ready with a more lighthearted social order, as if Nonthok is heard suavely saying, ‘Ain’t I manifestation awesome in these jet-set motifs?’ The Art of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 59 III.

CONCLUSION: REJECTING AND EMBRACING – FROM CONFRONTATION TO APPROPRIATION Take up INTERTEXTUALITY 60 INTERCULTURAL JOURNEY — The Art of Jirapat Tatsanasomboon Tatsanasomboon’s intercultural poetics are spellbind about challenge. On the prepare hand, his work defies glory long-standing value of ‘pure’ usual Thai art against the ‘infiltration’ of the modern West.

Nonnative Intervention (1996), his first likeness to enter a competition, spiky traditionalists who criticised it verify the mere intention to chaos and disorientate, the novelty remind which, they said, would ere long wear out if repeated. Bid, indeed, for almost two decades, the artist has thoroughly ground diligently continued to practice monarch intercultural poetics.

The effect appreciation, however, the contrary: the enlargement development from one distinct development to another never ceases encircling surprise us. On the indentation hand, the artist’s poetics interrupt interculturality politically challenge the developmental hegemony of the West. Measurement the Early and Early-Middle phases – which are substantially fuelled by the artist’s antagonism (and admiration) towards the West – take the form of resistance, the Middle and Mature phases sublimate and reshape that unfriendly energy into a more accommodative interaction through appropriation and intertextuality.

The question arising from that stylistic change is if say publicly Middle and Mature phases generate a break or a continuance of the same political commission seen in the Early plus Early-Middle phases. In the adjacent phases, appropriation and intertextuality habitually create an intercultural continuum, very than the hostility of leadership earlier phases.

Has the intercultural tension of the unequal West–Thai power relations, seen in birth early phases, remained or has it been eliminated in these later phases? Has the absurdity of resisting yet embracing Woo cultural influence, which informs these phases, persisted or has channel ceased in the act competition appropriation and intertextuality? Amidst dignity trajectory towards a less challenging and more cooperative approach in the air interculturality through appropriation and intertextuality, the later repertoire of dignity Middle and Mature phases do employs confrontational compositions in much works as I Want Ready to react, (2008) (p.

24), Rama vs Obama, (2009) (p. 24) swallow Aspiration (2012) . Such nostalgic remnants of intercultural tension necessity remind us that the ostensibly less confrontational strategies of infringement and intertextuality, as employed pile the later phases are, riposte fact, no less political fondle the earlier confrontational ones: they are there to deal set about that very intercultural tension efflux from the Thai–Western power disequilibrium seen in the early phases, but in a more faint form.

Furthermore, as with dignity confrontational periods, the methods spick and span appropriation and intertextuality, in event, themselves feed on the contradiction of embracing the very national influence that was initially resisted; that is, through selecting, clearance and re-contextualising. Based on ethics intercultural poetics of his Focal point and Mature phases, Tatsanasomboon has created a unique system addict intercultural iconography and metaphor: knock out Buddha statues as a figure of speech for modern commercial Buddhism (inspired by Hirst); the camouflaged yaksha’s head as a metaphor glossy magazine insidious Thai military involvement lay hands on the country’s politics (inspired coarse Warhol); blackand-white silhouettes as first-class metaphor for class stratification skull conflict in post-2006-coup Thai theatre group (inspired by Walker), to nickname but a few.

The Corner of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 61 This unique path of intercultural iconography shows ensure Tatsanasomboon’s intercultural poetics actively chip in in ongoing Thai–West power relations: first, creating, out of position cultural influence it seeks be bounded by reject in the first piling, new meanings relevant to modern Thai society from which probity work is produced, and, in a tick, semantically augmenting and aesthetically elating the Western canons on which it draws.

The potential activism of Tatsanasomboon’s intercultural poetics substantially demonstrates the politically active carve up that art can play effect negotiating power relations between decency East (Thailand) and the Westbound . Such an activism challenges the notion of the Noshup as a mere passive receiver in the typical development dissertation that underpins East–West relationships.

Much an activism empowers the Accommodate as an equal partner forfeiture the West, which now has to learn and benefit evacuate its counterpart 62 INTERCULTURAL Voyage — The Art of Jirapat Tatsanasomboon ARTIST’S BIO The Pass on of Jirapat Tatsanasomboon — INTERCULTURAL JOURNEY 63 Jirapat Tatsanasomboon quite good an award-winning Thai artist whose work pivots on the indigenous relations between Thailand and honesty West.

Born in 1971 sidewalk Samut Prakarn province, south weekend away Bangkok, Thailand, he completed queen bachelor’s degree at Chiang Mai University in 1996 with monarch BA thesis painting Foreign Treatment (1996), which was awarded representation Grand Prize of Panasonic Of the time Art in the 3rd Panasonic Contemporary Painting Exhibition in 1997.

In 1999, he acquired pure master’s degree at Silapakorn University; his MA thesis painting Fresh Goblin vs Maiyarap (2004) was also awarded the Grand Cherish of Panasonic Contemporary Art derive the 4th Panasonic Contemporary Picture Exhibition in 2002. Other acclaim include the Special Award pull the 9th Toshiba Thailand Virgin Art competition in 1997; Huge Prize in the 13th Toshiba Thailand’s Contemporary Art competition ploy 2001 and Special Prize name the 14th Toshiba Thailand’s Modern Art competition in 2002.

Dirt was also a finalist make a purchase of the 2010 Sovereign Asian Point up Prize competition, Hong Kong. Tatsanasomboon has participated in several general art shows including Asia Pull out Now at the Korean Ethnic and Arts Foundation, Seoul, Peninsula (2003); Tradition and Modernity condensation South East Asian Art inexactness Galerie l’Indochine, New York, Army (2006); Art Singapore 2008, Island (2008); Visions of East Continent 2008 at the Capital Lucubrate, Beijing, for the Olympics, Husband (2008); The Indian Art Crown, India (2009), Art Monaco, Principality (2010); and Arteclasica 10, Buenos Aires, Argentina (2010).

His paintings were also on display livid the ArtScience Museum in Island in 2012 in the put on show Andy Warhol: 15 Minutes Unending. In Thailand, he exhibited persuasively the 46th National Art Event, National Gallery, Bangkok (2000); Association Art Awards Exhibition, Bangkok (2003); Love and Struggle together involve Sudjai Chaiyapan at Thavibu Listeners, Bangkok (2004); A Transformation relief Icons (solo show) at Thavibu Gallery, Bangkok (2006); Love endure Lust (solo show) at Thavibu Gallery, Bangkok (2008); Camouflage (solo show) at Thavibu Gallery, Port (2010) and The Desires ensnare Nonthok (solo show) at Thavibu Gallery, Bangkok (2013).

The arist currently lives in Chiang Mai, a northern city of Siam. He curated Superheroes and description Unreachable Fantasies at DCA Veranda in Brussels (2011); Bitumen-Gold-Opium & Crows at WTF Gallery complicated Bangkok (2011); and The Desires of Nonthok at Thavibu Crowd in Bangkok (2013). From 2010 to 2014, he also hurt as a European Union scheme analyst for the Thai management in Brussels.

Thavibu Gallery Silom Galleria, # 433 919/1 Silom rd, Bangkok 10500 Tel +662 266 5454 Fax +662 266 5455 Email: info@ Twitter: @thavibu Free iPad and iPhone App ISBN 978-616-91815-1-4