| One
of the qualities of all art, from its prehistoric infancy to the
comic-strip art of our day, is its capacity to signify and to
describe the world, |
 |
| thinking
it a step further, fantasizing on it, conceiving counter- worlds yet
also condensing its essence in images. Nim
Kruasaeng
begins without preconceptions with the elementary drawing, which
simply delineates things, and then adds color to this drawing. In
the process, she shows that drawing and signification, drawing and
description are closely interrelated. The signs she conceives are
simple; she creates animistic, anthropomorphic worlds by giving
hands to bamboo shoots, forming pitchers of milk in the shape of
cats or putting human faces on plants.
One is quite naturally reminded in this context of the animism of
Thai natural religions and even more strikingly of the generative
forces of nature are even more pronounced in the more abstract
pictures, which have no decorative or naïve qualities, in the
fruits, seeds or one-celled organisms in the chalky, milky colors on
tinted natural paper that convey something of the semantic world of
northeastern Thailand |
 |
The
innovative aspect of Nim
Kruasaeng’s
art is a function of the absence of preconception in approach
devoted to a search for images
within themselves |
and
unconcerned with the recycling of existing worlds of images. Her
signs are elementary metaphors of a close relationship with nature,
which is also and expression of a tradition of her native country.
Her pictorial inventions, in a drawing such as the loss of face as
mask, for instance, have emblematic character. Nim
kruasaeng
tells no stories but instead expresses poetic metaphors in precise,
succinct form.
|
Prof.
Peter Weiermair
Director of the Rupertinum
Museum for Modern and Contemporary Art Salzburg |
 |
|
Line
and color generate (create)
Symbols which convey never ending messages
Montien Boonmar |
|
|
HOME
|
