Harmony with Nature 2 | Teppong Hongsrimuang

$ 16,000.00

As a result, the relationship between humans and nature extends beyond how much a person may feel like they are a part of nature. It can also be interpreted as including our adaptive synergy with nature as well as our enduring behaviors and encounters with nature. Teppong masterfully captures this interaction in his artwork. The 67th National Exhibition of Art showcased his works of art.

Technique : Woodcut
Style : Fine Art
Year created : 2022
Size : 175 W x 100 H x 1 D cm
Frame : Not framed

Teppong Hongsrimuang is a Northeastern Thai printmaking artist who has mastered woodcut technique creating various style artworks. Majority of his works continue to depict the cultures and ways of life he has experienced. He pictured what he had spent his early years with, a rural yet historically cultural location and customary associations. And as an artist, what  the charm out of art are technique, meaning, and uniqueness so that’s why he keep on developing all mentioned throughout these years. 

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Description

About the Artwork

Interaction between man and nature has followed a continuous course for a long time, and these trends are the result of both human activity and the environment. This habitat encompasses more than simply the neighborhood or the city. However, the term “environment” also refers to the natural environment. On the basis of the ecosystem that nature has exquisitely and brilliantly made, many things breathe together which each creature has interactions that sustain one another. This fully completes the life cycle and maintains the integrity of the ecosystem.

Getting more Surrealistic

This piece is part of his third stage of developing his own art style anyway, mean not that this is the perfect blend in his own eyes. “To me, I still am on the road searching for what most feel right to me as an art creator in term of both style and key massages”, said Teppong. After graduated master’s degree from Silpakorn University, he wanted to explore something new. He did got out of tutor’s rule or advice and those style belonging to his master’s years by add on a touch of surrealism. Anyway, his cultural theme like Esan rural life, tradition, and natural scenarios were still stick strongly around. “I’m from Northeastern province which having our own subculture as well as customs. So no matter what subject I chose to be my work’s concept or the variation of style, Esan’s elements would still be the significant part enhancing me within my works”, added Teppong. For the surrealistic touch, he sees this style as the way to fully get out of rules due to it requires nothing but possibility and the power of imaginary. Its beyond realism had free him from right and wrong lighting up another way of fun and exiting, yet lifted an artist’s spirit to the place he’d never before experienced.

Stages of style’s development

The first one were those during his bachelor’s years which the key concept was about Northeastern-Thai or “Thai-Esan” cultural environment. Teppong had told his early life living closely with village community by straightly forward picturing scenarios, customs, traditions, and Esan style architectures both living space and ritual area like temples or stupa. Amongst all, wood houses were his main setting as it best suit to woodcut technique. Moulding the wood block, each metal pointed tool’s sketching had served the wooden feel of houses’s texture more than perfect. So this phase was a learning of what fit well with the technique moreover, which shapes or forms that this technique could deliver the sensation to the maximum. During his very last year, he had improved his style toward a semi abstract style. Wood housing was the heart, he represented them in crop liked or chose only part of the whole. His aimed was to experiment what woodcut could do more intern of art creating.

Then the master’s years came, from moving to the capital city of Thailand, Bangkok the environment changed. He was inspired by local people who moved here for work especially laborer. He captured an easy going vibe yet simplicity within their life and reflected them through the nostalgic peaceful setting instead of a crowded scenario. He aimed for two things which first is to make local laborer grateful of the life they had to left behind for the better income. Second is to make society sees other way of life. “City life is not easy, I say it from the perspective of a person who once shared the same fate. I moved to Bangkok for studying so I know how expensive as well as congested living is. But what I had experienced from being around those who left their home town seeking for a better income was different. They carried a rural spirit by sharing both things and happiness moreover, they never let the hard life take away their will power and believe. I was trilled and inspired by that so I displayed the peaceful life to remind society of others that matter and to harmonize the worker’s spirit restoring within nostalgic simple scene”, explained the artist.

After graduated master’s degree, his intention of going out of his known way was the key of art production. He experimented and mastered his craft base woodcutting skill to be able to deliver this new style right. He introduced natural elements like woods, wildlife, and aquatic animals layering together with civilized architectures and urbanism. As wished to remind that apart from human related life, there’re bunch of other living too. And with the help of the beyond realistic style, those mentioned were displayed contrastingly exquisite.

Now he’s studying doctoral’s degree at Chiangmai University which shaping his artistry style into a newer direction. He and his artwork had entered the critical yet guiding scheme once again. This time, Esan culture is his core concept. “It could be said that this key massage was used before during my bachelor’s years but the depth as well as perspective are different. My first period works were like a direct massage, I pictured thing from the outer to gain feeling from the inner. This time, I expressed inner thoughts and emotions using certain representative elements so audiences could interpret the outlook base on their knowledge and experiences”, explain Teppong. He would talk about folklores and customs with subcultural detailing inserted from northeastern style fabric patterns, wicker texture, to historical masonry paintings. Anyway, he has modernized every compositions making it well suit to the contemporary world as well as art style.

Get to Know the artist.

“Teppong Hongsrimuang” has been continuously working in this field causing his work to improve steadily in terms of both technique and drawing ability, or how well he was able to describe the significance of the image. The majority of his works continue to depict the cultures and ways of life he has experienced. He spent his early years in a rural yet historical cultural location and customary associations which has inspired him since his early stage of art production.

Firstly being an artist was never in his mind. He was a sport person who once invested all his times and effort to it. Then his last year of high school had come, his school-record was so-so as studying have not been his first priority for such a long time. Moreover, his physical health was damaged by over practice. “Even sport could be counted as my strength, my skill still not reached the point to become a professional sport player. So I had to rearranged the future path which at some point art pop up in my mind”, said the artist. He was not so sure of entering an art faculty anyway, he was received in by a sport qouta.

As having no art basic both skill practice or stylistic, Teppong started his art production using what he best know, his life’s background. “I did not have my own style, interested or even know what I’m capable of but I know Esan’s rural life, traditions, and environment so I started from that”, explained Teppong.

Why’s Woodcut Printmaking

About the technique, woodcut was the very first techniques he’d learned. He chose to further mastered woodcut printmaking because it was his best shot. He also said that it carried a handicraft trait which had comforted him from the point that he had not trained prior in art school. He’s not a color person either so printmaking kind of suit him right. But if color is what appropriate to inner emotions or outer looking, natural earthy tone in a monochromatic scheme is an only get away. “I prefer black and white, that was the big part I put down painting. But if I feel like doing color, printmaking would serve well enough”, added the artist. Furthermore, Its fascinating are a planing’s requirement and a working under strict process. From preparation, woodblock carving, to an actual printing, each process could not be skipped or reordered. All have to be planed out well and done accordingly. But the twisting is that the finished work could not be expected making this kind of technique both challenging and exiting. “I love that it help me practice with planing and shape me to be patience person. Creating one artwork included various stages which you could be inventive in every stages moreover, each requires certain practical skill meaning you have to sharpen in advance”, concluded him.

Education

Bachelor of Fine Arts Programme in Printmaking Chiang Mai University, Thailand
Master of Fine Arts (Visual Arts Education), M.F.A. (Visual Arts Education), Silpakorn University, Thailand

Awards and Scholarships 
  • 2014 Awards in support of the 60th national exhibition of art on the occasion of Silpakorn university
  • 2015 Awards in support of the 61th national exhibition of art on the occasion of Silpakorn university
  • 2017 3rd Prize, KrungThai Art Awards
  • 2017 Excellent Award, 2nd Government Savings Bank Art Award
  • 2017 Runner-up award The 6th White Elephant Art Award
  • 2018 Honorable Mention, The 7th White Elephant Art Award
  • 2019 Outstanding Award, The 34th PTT Art Competition
  • 2019 Honorable Mention, The 8th White Elephant Art Award
  • 2019 Excellent Award , The 3rd GSBGEN Art Contest
  • 2020 2nd Prize Excellent Silver Medal , The 11th Kochi International Triennial Exhibition of  Prints in Japan
  • 2020 Outstanding Award, The 35th PTT Art Competition
  • 2020 Honorable Mention, The 9th White Elephant Art Award
  • 2021 Outstanding Award, The 36th PTT Art Competition
  • 2021 3rd Prize, Bronze Medal, 66th National Arts Awards
  • 2022 Runner-up award The 11th White Elephant Art Award
Selected Group Exhibitions
  • 2018 The 63rd National Exhibition of Art
  • 2018 The 2nd opsin Art Exhibition, Topic under the Prabaramee
  • 2018 Art thesis of master’s students Visual Arts, Department of Graphic Arts Faculty of Painting, Sculpture and Graphic Arts Silpakorn University
  • 2018 The 6th White Elephant Art Exhibition
  • 2018 The 33rd PTT Fine Art Exhibition
  • 2019 The 3rd omsin Art Exhibition, Topic of Savings of the Mother Land
  • 2019 The 7th White Elephant Art Exhibition
  • 2019 The 34th PTT Fine Art Exhibition
  • 2019 ” This is me Jakkee” Exhibition
  • 2019 Exhibition “Woodgrain Art in Thailand by 18 artists
  • 2020 The 11th Kochi International Triennial Exhibition of Print, Japan
  • 2020 Taiwan International Biennal print Exhibit : 2020ROC
  • 2020 The 9th White Elephant Art Exhibition
  • 2020 The 35th PTT Fine Art Exhibition
  • 2021 The 36nd PTT Fine Art Exhibition
  • 2021 The 66rd National Exhibition of Art
  • 2021 ‘Greets’ Exhibition featuring flower paintings , Baramee of Art
  • 2021 Craftsman Exhibition , Baan Tuek Art Center
  • 2022 The 11th White Elephant Art Exhibition
  • 2022 The 67rd National Exhibition of Art
International exhibitions
  • 2016 The 2nd Graphic Art Competition and Exhibition – Viet Nam 2016, Vietnam
  • 2016 1st International Print Biennial Łódź 2016, Poland
  • 2016 Taiwan International Biennial Print Exhibit: 2016 ROC, Taiwan
  • 2016 Xuyuan International Printmaking Biennale Committee
  • 2016 The Center for Contemporary Printmakin Seacourt Print Workshop LTD is a company registered in Northern Iceland with Company Number NI24162. in Northern Iceland
  • 2017 Guanlan International Print Biennial 17 in China
  • 2018 Guanlan International Print Biennial 19 in China

Additional information

Weight 1 kg
Dimensions 100 × 175 × 1 cm