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拍品專文
The present work comes from the artist's 2003 exhibitions of Recent Paintings which were shown in both Numthong Gallery, Bangkok and Valentine Willie Fine Art, Kuala Lumpur.
"The works in Recent Paintings is a continued development of Natee's Reason and Monster Project (2001), which borrows its title from Goya's etching The Sleep of Reason Produces Monsters. Under this project, Natee held three separate shows in Bangkok last year: Silent Laughing of Monsters, Numthong Gallery (May 2002), The Reason/Painting with Pure Reason, Numthong Gallery (October 2002) and Silent Laughing of Monsters/Large Scale at the Gallery of Art and Design, Silpakorn University (November 2002).
Silent Laughing of Monsters and Silent Laughing of Monsters/Large Scale showed canvas works with selected details from Renaissance paintings, exquisitely rendered, but obscured by a layer of enamel or wood-stain. Beneath the translucent and sometimes even opaque surface, characters such as Sybil and Judith are viewed intimately, making them almost personal and familiar. The Silent Laughing of Monsters series is dominated by paintings of the figurative image, while The Reason/Painting with Pure Reason exhibited paintings of monochromatic blank canvases propped against the wall on a cement floor - Tom & Jerry paintings, dealing with the illusion of painting." (Noor Mahnun Mohamed, Natee Utarit: Recent Paintings, Valentine Willie Fine Art, Kuala Lumpur, 2003).
Continuing in his fondling of the effect of enamel or wood-stain covered surface that gives the finished works a translucent and glistening look, with the Recent Paintings series Natee also continues with his quest of a contemporary context using notions of classics from Western Art.
The image of Venus, landscapes and still lifes are the rudimentary vocabulary of classical western painting and sculpture, with which Natee uses to formulate a contemporary meaning.
"Goya's The Sleep of Reason Produces Monsters can be interpreted in part as an expression of the artist's struggle between reason and imagination. Natee's work negotiates similar tensions, but his dilemma is a more contemporary one, concerning the validity and value of his artistic practice, and of painting itself. The purported rational ideals of western classicism are constantly played against his own emotional and intuitive responses to the canvas. The works in Recent Paintings pare down this discourse almost to its bare essentials, as Natee progresses in his personal quest in search of the truth in painting." (Ibid.)
Natee painted a few of the tulip in this chosen genre of his. In all of these works, just as with the present one, Natee pays great attention to the form and structure of the flower. Enlarging the single stalk of flower that fills up the canvas, the artist transcends an otherwise mundane and classical practice of still life depiction to an interesting juxtaposition of forms, shapes and colours. Placed against an intense dark background, the subject is lit from the front with a luminosity that few shadows interfere with the rich colours and brilliant hues. Even the dark background seems to reflect light, an effect achieved with the enamel or wood-stain, which Natee thinly applies onto the canvas surface - the result is an impression of scintillating light.
Natee Utarit is a promising young artist from Thailand who has been appreciated beyond his homeland. Holding exhibitions in Bangkok, Kuala Lumpur and Singapore regularly, the Singapore Art Museum, Queensland Art Gallery in Brisbane and the Silpakorn University in Bangkok are amongst the institutions that have included Natee's works in their collections.
"The works in Recent Paintings is a continued development of Natee's Reason and Monster Project (2001), which borrows its title from Goya's etching The Sleep of Reason Produces Monsters. Under this project, Natee held three separate shows in Bangkok last year: Silent Laughing of Monsters, Numthong Gallery (May 2002), The Reason/Painting with Pure Reason, Numthong Gallery (October 2002) and Silent Laughing of Monsters/Large Scale at the Gallery of Art and Design, Silpakorn University (November 2002).
Silent Laughing of Monsters and Silent Laughing of Monsters/Large Scale showed canvas works with selected details from Renaissance paintings, exquisitely rendered, but obscured by a layer of enamel or wood-stain. Beneath the translucent and sometimes even opaque surface, characters such as Sybil and Judith are viewed intimately, making them almost personal and familiar. The Silent Laughing of Monsters series is dominated by paintings of the figurative image, while The Reason/Painting with Pure Reason exhibited paintings of monochromatic blank canvases propped against the wall on a cement floor - Tom & Jerry paintings, dealing with the illusion of painting." (Noor Mahnun Mohamed, Natee Utarit: Recent Paintings, Valentine Willie Fine Art, Kuala Lumpur, 2003).
Continuing in his fondling of the effect of enamel or wood-stain covered surface that gives the finished works a translucent and glistening look, with the Recent Paintings series Natee also continues with his quest of a contemporary context using notions of classics from Western Art.
The image of Venus, landscapes and still lifes are the rudimentary vocabulary of classical western painting and sculpture, with which Natee uses to formulate a contemporary meaning.
"Goya's The Sleep of Reason Produces Monsters can be interpreted in part as an expression of the artist's struggle between reason and imagination. Natee's work negotiates similar tensions, but his dilemma is a more contemporary one, concerning the validity and value of his artistic practice, and of painting itself. The purported rational ideals of western classicism are constantly played against his own emotional and intuitive responses to the canvas. The works in Recent Paintings pare down this discourse almost to its bare essentials, as Natee progresses in his personal quest in search of the truth in painting." (Ibid.)
Natee painted a few of the tulip in this chosen genre of his. In all of these works, just as with the present one, Natee pays great attention to the form and structure of the flower. Enlarging the single stalk of flower that fills up the canvas, the artist transcends an otherwise mundane and classical practice of still life depiction to an interesting juxtaposition of forms, shapes and colours. Placed against an intense dark background, the subject is lit from the front with a luminosity that few shadows interfere with the rich colours and brilliant hues. Even the dark background seems to reflect light, an effect achieved with the enamel or wood-stain, which Natee thinly applies onto the canvas surface - the result is an impression of scintillating light.
Natee Utarit is a promising young artist from Thailand who has been appreciated beyond his homeland. Holding exhibitions in Bangkok, Kuala Lumpur and Singapore regularly, the Singapore Art Museum, Queensland Art Gallery in Brisbane and the Silpakorn University in Bangkok are amongst the institutions that have included Natee's works in their collections.