merely in terms of memory and the capacity to criticize generated bytim e, wh ere memory is accumulated , but there is more to his workthan that.

work in Montien's approach. Occasionally it resides in an object, andan expression of it can be perceived once more on the outside.
Moving freely between the interior and exterior realms at times produces a charming mode of expression unhindered by forms .
Another distinctive characteristic of Montien 's work concerns "theunusual developments that occur when three-dimensional forms are
rendered as two-dimensional ones." The innumerable curves or wave
patterns which form the background of 'Water' may derive from a pot
whose interior is being locked into or from the curves perceived whilegazing up at a certain type of pagoda. But once they are densely
arranged on a wall, they possessa transcendence completely divorced
from the sort of perspective that depicts concrete objects .
This kind of transcendence, which is directly in league with folk
traditions and the legacy of folkcrafts, already goes beyond the factorof visually refined representation, drawing us toward more macrocosmic time and space. The strange symbolism conveyed by 'Candles
Painting: Full Moon' (1991, cat. no.11, fig .2) is an obvious example.
Created by means of innumerable marks from a candle flame on awooden panel, this work employs a motif from the world beyond the full moon. At the same time, it symbolizes Montien's inner self.
The world depicted in 'Candles Painting: Full Moon' could also be
said to confront the most existential issues in the traditional Thai
psyche. In a symbolic work such as this, the problem of expression
posed in terms of interiors and exteriors displays a mythical plane, thatof life and death. 'Black Candles Curtain' (1991, cat. no.10) conveys
a similar idea.

Ill, Forms Shaped While Fusing with Materials

Montien is fond of using soil. It will be observed that this material is a
key element sustaining, indeed , lying at the foundations of, art works
that tend to be generated by means of the critical function of time. For
Montien , soil clearly represents memory ; at the same time, it is endowed with a capacity to criticize in the sense that it represents anexistence that has been pushed into the background by modernization. In Montien 's eyes, however, this material undergoes a transformation , representing a more fundamental existence that transcends
the above-mentioned one. The following work s in the present exhibition are a case in point ; ' Earth Pagoda' (1989, cat. no. ll , 'Soil
Pagoda in Ten Panels' (1989, cat. no.2) , 'Soil Pagoda in Two Panels'(1990, cat. no.3), 'Trio' (1991, cat. no .7), ' Inside-Outside ' (1991, cat.
no.8 ), and 'Water' (1991, cat. no.9). Works using lime, ash, and othermaterials have a similar texture.
When used on flat surfaces, the soil is energetically applied as
though on paper. These works fall under two categories: those such as' Earth Pagoda' in which images are relatively dominant, and thosesuch as 'Soil Pagoda in Two Panels,'where more emphasis is placedon the existence of the soil as material than on the image of thepagoda. In other words, soil manifests a dual nature as image andmaterial. The treatment of soil as material is consistent with threedimensional terracotta objects and installations that are decorated on
the surface. Indeed, this aspect of soil has a nature and existence thatshould be actively enhanced .
In every instance, however, Montien's handlin g of material tries toavoid a Western-type of context consisting of existence, or objects,
and the self. The material coexists with the object that ·is represented ortries to become one with the material which is represented - so muchso that it dwells inside that material. In Montien 's words , it is "inexistence." Through the act of assimilation , the material for the firsttime acquires form, displays its nature as materi al, and even attains
life . For Montien , soil applied to a flat surface and terracotta that
acquires form as a result of being held in the hand are alike in that theydwell inside the same sort of object , namely material, and come into
being as a result of the intimate relationship between their own action
and the reaction of the material.
The term " preexistence" is similar in meaning to " in existence,"
which is used alongside of it. As amorphou s substances, soil and water
do not yet possess form . Preexistence attaches great value to theirinteraction with materials prior to becoming a medium . The close
connection with Buddhism is unmistakable .

V. Contemporary Thai Art in Transition

After attending Silpakorn University , an art institution in Bangkok,
Montien studied at the Ecole Nationale Superieure des Beaux-Arts andthe art department at the Universite de Paris VIII from 1986 to 1988.
This foreign study provided a springboard for Montien's subsequentinteraction in the European art world . In Asia, his work was shown at
the Olympiad of Art held in Seoul in conjunction with the 1988
Summer Olympics. Last year, his work was displayed at the Biennale
of Sydney, Australia . Although his work has been exhibited extensively abroad in the past few years, the present exhibition marks thefirst time that Montien's work has been shown in Japan.
At a time when Thailand is enjoying tremendous economic
growth , the Thai art world is also expanding its international ties. So
far, there are only a handful of galleries, but a glimpse at them showsthat it is now possible to find Western-style contemporary art that is
now intermingled with works of a neo-traditional bent that interpret
traditional Thai culture and religious views in a contemporary way.
Some artistic forms of expression that display no trace of traditional
Thai culture can be discovered in the generation of artists afterMontien . This trend is likely to accelerate in the future.
Montien's mode of expression owes much to traditional culture,
yet his work can be said to abound with a free, fertile imagination
untainted by the baneful influences of that culture. To be sure, it may
not have been able to bloom inside Thailand. Montien's use of premodern materials and motifs that evoke the traditional religious andcultural setting have progressed more deeply and rapidly as a resultof his encounter with other cultures, especially in this case Westernconcepts and modeling techniques.
During his study abroad, Montien must have learned all too well
the weakness of inner neo-traditionalism and superficial internationalism . His strength as an individual lies in this realization, which hehas reworked in the context of his own artistic output. From the perspective of the West and Japan, we can expect it to be manifested interms of a unique world abounding in originality .
(Translated by Janet GOFF)

IV. A Free Perspective Linking Interiors and Exteriors

All the same, Montien 's work is scarcely religiou s. The reason is thathis pagodas clearly exist as art no matter how they are depicted . His
works do not represent religious iconology even when pagodas areused as a motif. One could even go so far as to say that the pagodas
represent Montien 's inner being.
The mode of expression used by Montien employs an unusual
perspective, whereby interiors and exteriors exist simultaneously . In
his work titled ' Inside-Outside ' the disk-like form made of soil isdepicted so that it is seen from the interior , exterior, and side, resembling a disk rotating on an axis. Several work s depicting pots also
consciously convey a sense of the interior and exterior.
What these works clearly manifest is a methodology that avoids asingle focal point by employing unlimited points of view . The idea ofbeing in existence comes into play here. Inasmuch as a two-dimensional, visual form of expression is used, the sort of action that goeswith physical forms is in fact impossible. But that sort of illusion is at

9

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10

• El3a)Artist'sMessage
Montien BOONMA

I used dirt, charcoal, and ash to transform the "in existence phenomenon" as expressed in the three-dimensional architectural structure of a chetiya to a two-dimensional work of art. Short and long
rectangular pieces of paper coated with dirt, charcoal, and ash arealternatively laid out in the same pattern as brick-laying in the chetiya
construction, each piece being attached to the wall. On the first layer,
the pieces of paper were placed on the floor and then attached to thewall. The number of pieces of paper on the second and the subsequent
layers is reduced so that the structure of the chetiya is formed. Eachpiece of paper was sealed or framed to create thickness and weight
and to facilitate horizontal layers from the ground to the top. The work
embodies a "rea l" physical feature of .a chetiya. In the exhibition hall,
it is placed on the same level as the viewers. Standing in front of thework, the viewers will instantly sense the "real phenomenon" of thechetiya.
In most of my work, I employ direction and the laying of pieces of
paper by width and by length to recreate the "real phenomenon" in
the imagination of the viewers.
The content of 'Candle' is the phenomenon arising from the belief,faith, and behavior of people in Thai society. 'Candle' is created naturally with the restr iction of coated materials affixed to two pieces ofboard. The candle-burned piece appears in the form of a semi-circle
on the two pieces of board. When installed for exhibition, one piece ofboard is placed on the floor and the other is attached to the ceiling. My
intention is to present a phenomenon and an experience from the Loy
Krathong (banana-leaf basket-floating ceremony) and to express thebelief and faith in time and religion among the Thai people.
In ' Hand Prints and a Belt,' a fist was created from baked lumps ofclay. The fist represents the people who laboriously use their strength
to produce crops. The lumps of clay were fixed onto a rubber belt thatwas then stretched and nailed to the wall. The work manifests the
symbolic stress and oppression of the material presented.
As implied, materials and objects act as stimulants. They inspireme with means and ideas to create works of art. In addition, the previous experiences of the viewers help to enliven the imagination andthus create a perception of the work specific to each person. This is myintention.

I. The Source of Inspiration

I am interested in materials and objects available in my surroundings
and have been using them to create works of art in a style of my own .
The concrete and the abstract characteristics of each piece of material
inspire me with ideas and means for this creation . The content and theform of the work are derived from the physi1=alproperties and theabstract symbolism of the material itself; I merely transfer the "in existence phenomenon" of the material and express it through my work.
All materials and objects are closely related to society and are
known to "have" certain qualifications and to "denote" certain things.
However,. each individual experiences these materials and objects
differently . Such differences in experience attribute to all materials andobjects certain concrete and abstract parameters.
The parameters stimulate both my rational thought and my imagination, leading me from one to the other. The relationships between
these parameters are the most important factors determining the formand content of my work. The thought and the methodology employed
to deal with a particular material's parameter will thus vary according
to the "in existence phenomenon" of the material itself.
Natural surroundings , culture, and the Thai way of life are basic
factors that constitute the "in existence" parameters of the materials
around me. Moreover, these factors become symbols and give localized characteristics to the materials. I am not interested in the kind of
expression or creation in which scope and form are predetermined.
Actually , I am more interested in the successful "e mergence" of theinherent "in existence" parameters of the materials.
I believe that an artist must understand his own status in relation to
the religious, cultural , social, and economic conditions in his surroundings. These are the basic elements that form in me an aesthetic
and meth'odology for creating art work.
In Thailand , contemporary art has not yet been accepted on a wide
scale. Expensive imported materials are usually needed to create art
work , and, unfortunately, not all artists can afford them. Thus, not all ofthem are able to work regularly and continuously , which hinders theirdevelopment and their artistic creative output and also restricts theform of their work. To overcome this limitation , I avoid using the expensive and traditionally used art media such as oil paints, acrylic
paints, and canvas in my work.
Instead, I look for materials and objects in my rural surroundings;
materials such as earth, sand, charcoal, baked clay, ash, and wax.
These materials are in my affordable range. Not only do they help me
carry on with my work; their characteristics are also in harmony withthe way of life in the countryside .

Chiang Mai, Thailand
August 1991

II. "Real phenomenon" in Materials

I use local materials and objects from the countryside to "manifest"
their "real in existence phenomena." Such phenomena are related to,
and are an embedded physical and symbolic aspect of, Thai society.
These materials are not used to "substitute" for other things beyond their own inner qualifications and meanings. The physical features and the abstract symbols known to Thai society are translated
into art work in accordance with the socially known parameters andthe inner-relationship of all parts of an object as one can see in thefollowing examples of my work.
The ' Pagoda' manifests the " real phenomenon " of the physicalfeatures, the construction process, and the objects of constructing apagoda in the Buddhist concept.
Chetiyas and stupas, or pagodas, are constructed to house the relics of venerated monks and the ashes of laymen . The idea originatedfrom the pile of ash and dirt remaining where the Lord Buddha wascremated. Chetiyas and stupas are places of worship and reminders of
the Buddhist philosophy concerning the escape from samsaravattathe cycle of birth-death-rebirth .

11lg)Jlli
Plates

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c:'il5~oNotes:

Information on the works is given in the following order:
catalogue number, title, year of production, measurements (height x width x depth crn), materials and technique.
Catalogue no.1-11 are displayed in this exhibition. All other works in this catalogue appear as reference.
With the exception of catalogue no.1, al I works belong to the artist.

1 :!;:lt!!(7)/C:f7 1989~
Earth Pagoda 1989

H320cmxW180cmxD2.Scm
H320cm xW180cmx 02.5cm±,;f<:iJlUlt/liJ-1::.,:J::Ullsoil pigment, charcoal, detergent-powder and indigo on paper13•2 ±O)J,::1$1(1 ! , 'i'-JL,) 1989:$
H260cmXW220cmx
D1 5cmSoil Pagoda in Ten Panels 1989 H260cmxW220cmxD15cm

14±.l111, t..,:,,15
soil pigment on paper, bricks

433 ±O)Jt ::f5' (2/t:?-JL,) .1990$

Soil Pagoda in Two Panels

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1Scm ±-5-f';l.•"(-/(-,L,::;:IJ
1990 Hl35cm xW SScm x Dl 5cm soil pigment on rice paper, bricks

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1990$
Hl20 c mxW80cmxDScm;t<r,i1,/9Z,:fif:JH5.l'?')JL,,I!\
White Pagoda in Two Panels 1990 Hl20cmxW80cmxD5cm
charcoal, ashes, lime stones and acrylic on paper

15

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H75cmXW50cmxDS0cm
Manual Acts in Red Hand prints Construction
1990

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H7 5cmxWS0cmx

050cm

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Handprints and a Be lt 1991 dimensions variable terra-cotta , belt , steel wheel

16

terra-cotta, rake, digging tools

78

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H1 00cmxW210cmxD3.5cm
Trio1991 H100cm xW210cm x 03.5cm;f<ili,,±,1!)(,~

charcoal , soil pigment and ashes on paper- 91-llltl 199 1:$ H120cmxW240cmxD20cm±-51'::Z.-"'-/17-55:::i-;,5'8 l"lflllJ
Inside-Outside
1991 Hl20cm xW 240cm x 020cm
soil pigment on rice paper, terra-cotta

17