Charoen Marboot

Artist Story
Khun Charoen is presently an artist with Thailand’s National Fine Arts Department. At a tender age, he has won multiple prizes, earned a scholarship and participated in many exhibitions even before graduating with honours at the Rajamangala Institute of Technology in 1997.

 

Although he excels in Thai traditional painting styles, he does refrain from doing contemporary works. His series of “Power in the City” displays his deft skills in traditional Thai paintings technique and yet the composition is overall presented in a very contemporary manner. His message in this series of works is to convey his concern over the overwhelming urbanisation of big cities like Bangkok and the gradual erosion of faith and religiosity.

 

Biography

1973 - Born at Phayao, Thailand
1992 - Group exhibition at 50th Years Anniversary of National Bank.
1993 - Group exhibition at 60th Anniversary of Nakonton Bank, National Culture Center
1994 - Participated in Thai painting contest of Poh Chang Institute Collage
1995 - Group exhibition at 50th Anniversary Celebrations of His Majesty’s Accession to the throne Commemorative by the Thai Army
1995 - Art for Commemorate of Poh Chang Institute of Technology’s Birthday
1995 - Participate in the Postage Stamp Art by the Communications Authority of Thailand Philatelic Division from 1995 – 1997
1996 - Participate in Art of Bua-Laung at Bangkok Bank from 1996 – 1999
1997 - Graduate with Bachelor of Fine Arts (BFA), Thai Traditional Painting, Rajamangala Institute of Technology. Graduated with 2nd degree honour
1997 - Group exhibition at Art of the Thai Painting Environment by Mitsubishi
1997 - Group exhibition at 12th PTT Art Competition at the National Gallery
1997 - Group exhibition at 24th Anniversary of Thai Traditional Art at Grand Hall, River City
1998 - Group exhibition at 65th Years of Singha art exhibition at Thai National Culture
1999 - Group exhibition for the 72nd Birthday of His Majesty the King’s at Fortune Hotel
1999 - Participate in group exhibition “Art for the celebrations of His Majesty the King’s” at Thai Farmers Bank
2000 - Participate at “The original silk screen painting on clothes of Thai occupation” Support Foundation at Silpakorn University
2001 - Group exhibition at the 47th National Art at the National Gallery, Bangkok
2001 - Participate in “The original of embroider painting for Thai occupation” Support Foundation at Bangkok Bank
2001 - Participate in “The original silk screen painting on clothes in topic of Rice” for His Majesty King Bhumibol Adulyadej
2002 - Participate Art Painting for the King in concept “As the King in the heart of the artist” by I.C.C. International Public Company Limited at Silom Gallery
2003 - Group exhibition of Thai Traditional Art of Poh-Chang Celebrating its 90th Anniversary at Grand Hall, River City
2004 - Participate in art couples “Thai Painting Smooth as Brush” at River City, Bangkok
2005 - Participate in Art Group Workshop and Exhibition at Philippines
2007 - Participate in Art Group “Thai painting smooth of line and colour” at River City, Bangkok
2008 - Group exhibition for His Majesty the King’s 80th Birthday Anniversary, by kasikorn Bank at Siam Paragon
2010 - Solo Thai painting exhibition “Ganesha” with publication of “Painting of Ganesha”

 

Awards and Honours

1994 - Awarded scholarship by Prince Chrome Narisaranuvattiwong, Plaineon Palace
1996 - Awarded 2nd & 3rd prizes for Postage Stamp Design Contest by Communications Authority of Thailand Philatelic Division
1997 - The Best Creative prize, “Painting for Virtuous and Construct” by Mitsubishi
1998 - Awarded Contemporary Thai Art Prize at “Singha 65 years” by Boonrowd Brewery Company
2001 - 2nd prize of “The original silk screen painting on clothes in topic of Rice” from the royal concept of His Majesty King Bhumibol Adulyadej
2001 - Appointed Artist member of Thai Mural Painting, Sketching and Enlargement from 2001 to 2003, for the Drawing Phuttharattana Temple at the Royal Palace from the concept of His Majesty King Bhumibol Adulyadej

 

Vision

LWH Gallery and MAD Museum jointly presented ‘Vision’ – an exhibition featuring Vietnamese sculptor Nguyen Tuan and digital media artist Naoko Tosa.

Although vastly different in terms of styles, techniques and creative experiences, interestingly both have produced a series of works that runs parallel in perspective and thoughts. Each presented their vision for life and the search for peace and happiness.

PRESS

Artfully treading the Middle Path

Two non-religious artists are inspired by Buddha’s exhortation to take the path that is furthest from extremes. Their Buddhist-accented works inspire calm and contemplation, writes HELMI YUSOF

www.businesstimes.com.sg/lifestyle/arts/artfully-treading-middle-path

联合早报采访日、越艺术家土佐尚子和阮团联展 一样的平静安详

国籍不同的两位艺术家,尽管在创作的形式与语言上大有区别,把两人拉在一起的,正是佛教或神道教平静安祥的共同认识。

东方画家,很少不在创作上和本土的道教、佛教产生创作上的联想,尤其像中国、日本、泰国、韩国、越南、缅甸这些国家。目前来新加坡举行联展的日本土佐尚子(Naoko Tosa)及越南的阮团(Nguyen Tuan),`一个从事新媒介的艺术创作,一个以陶瓷创作有名于世。尽管在创作的形式与语言上大有区别,把两人拉在一起的,正是佛教或神道教平静安祥的共同认识。

日本的土佐尚子是名教授,专长是科学加上艺术的各种结合。表现的场景,有时是在水气很强的灰白天空“舞台”,有时是一个个蓝色海底世界。而天空和海底,上下好像蕴藏一些神秘的色彩和不可言喻的天机,值得我们去慢慢体会。灰白天空是从飞机上俯拍的“奇景”;另一“奇景”在海底,她要告诉大家,画面的蓝色,是在警告:有一天世界会在海底——佛寺在海底,佛像也在海底。

问及为何会对佛教佛寺有兴趣?回答是:“我住京都,周围都是日本的著名寺庙,庙里多有著名的枯山水。”经她一提才发现,画中寺庙,可能是京都大德寺大仙院、龙安寺庭院、银阁寺庭院、本坊庭院、西芳寺庭院或桂离宫庭院等名胜。而典型的枯山水庭院,几乎都集中在日本的古都——京都。当然,画面有艺术家自己的加工经营,如在沙池上有一朵大红花,也为佛寺的树木,做了某些位置的改变。

科学有其美感

显然她的艺术,更近于科学?回答是:“科学有其美感。我大学本科学习的是平面设计、现代艺术、电影跟录像。当我想要运用新的科技,使不可见的成为可见时,我开始对科技产生兴趣,后来做硕士、博士研究的,完全是电脑科技。艺术和科学,两者可以互补——艺术激发我们,并且促进科技的发展。”
她说:“我早期曾发展过一套对应婴儿性格的电脑绘图系统,这套系统能够根据声音音调来辨识他们的情绪变化。举例来说,如果有人以轻柔的声调对这套系统说话,它就会随着这轻柔的声调,作出傻笑的轻微反应。这套系统的灵感来自一个研究发展情绪辨识科技的电脑科学家与我的互动,并且让我能够将之融合在自己的创作中。因此,科技确实可以带给艺术家灵感,走向一个新的途径,激发出全新的创作。其实,科学科技以及创意的表达,正是两位一体,从以前古希腊时代就存在的字‘Techne’,就已经同时包含了科技与创意双重意义。”

越南雕塑家阮团的接近佛教佛理,是因为他曾参加过当地炎图山寺庙的一项修复计划,过程中,他阅读了越南高僧释一行(Thich Nhat Hanh)的佛传《故道白云》,之后听到信徒的祈祷,僧人敲击木铎、木鱼的声响;山上清澈的空气和花草淡淡的幽香。在如此纯净且充满宗教氛围的环境下工作,顿时思考到城市生活的混乱、失序和无意义。

进入一个全新世界

阮团创作的转变有其一定过程,他之前对希腊神话诸神的爱欲有兴趣,从寺庙回来后,有了很好的对比,使他一下子进入一个全新的世界。他说:“某个时期,我在等待公车时会发现,身边的平民百姓,街上的劳工,个个是佛陀。我看到自己身边围绕着许多美好的事物,这是我以前不曾有过的经验和感受。所有的事物,好像都有声音,并且以明亮的方式朝我而来,这也成为我接下来一系列赤陶雕塑创作的灵感来源。”

为何喜欢陶瓷?阮团答:“喜爱陶瓷开始于小时爱玩黏土,并且乐此不疲。它的构成无法预料,而当进入窑中烧制,成品也充满未知数,它是魅力很强的创作材料。”阮团的创作条件也很好,他说:“在我居住的村子里,共有百多个窑,目前我已经完成了八个不同的陶艺系列。”

以陶论陶,他对越南雕塑与艺术的发展,有何看法?阮团说:“ 艺术无法固定。每个时期都会有一个新概念出来,我借用佛陀的形象并且将之反映在我的艺术中,借此描绘宗教和生命感受,并希望能让佛教哲学中美好的教诲,得以和民众分享。我要告诉大家的是,佛陀并非只是让人崇拜。”他的作品,全部是写实的佛菩萨头像。阮团个人的展出所得,将捐献給新加坡的越南学生。两人的作品,通过策展人的努力,多件是组合在一起呈现。