CORE contemporary art

Post Digital Colours – Anthology

Group Exhibition:-

Malaysia
Amirul Md Noor
Badrulzzaman Abu
Fadzril Fakaruddin
Faez Fahmi
Fana Douau
Izzaty Zainudin
Izzuddin Basiron
Shahnaz Azlin
Syahmi Jamaluddin
Tong Xin Lim
Yean Ni Koo
Zharfan Rashidi

Philippines
Ikang Gonzales
Lance Gomez
Regina Reyes

Thailand
Asmawee Karee
Panuwat Kamdee
Thanakan Klannakorn

15th May – 15th June 2026

ChinaHouse, Penang

*Click on images to zoom in

No items were found matching your selection.
  • Post Digital Colours – Anthology

In recent years, there has been a noticeable shift in the global visual colour palette, giving rise to a new aesthetic sensibility known as Post-Digital Colours. This emerging concept reflects a growing appreciation for palettes that are simultaneously responsive, immersive, and often only achievable through design software and computer-generated processes. Post-digital colours occupy a unique threshold—straddling the boundary between screen-based artificiality and tangible, analog materiality. This chromatic approach mirrors our deep entanglement with digital interfaces, while also resisting the slick, hyper-perfected visuals commonly associated with purely virtual aesthetics.

In this exhibition, Post-Digital Colours function as a conceptual and visual guide, inviting artists to reflect on and reinterpret the synthetic palettes found in digital environments. Artists explore how colours from digital design tools—clean, sharp, bright hues often seen in RGB displays or four-colour print separations (cyan, magenta, yellow, black)—can be reimagined in physical form. These palettes, often native to screens and software, are examined through various disciplines and each medium transforming digital tones into tactile, material experiences.

Many of the works embrace the visual language of glitch, pixelation, LED glow, and hyper-saturation—yet they are intentionally infused with traces of imperfection, handcraft, and organic irregularity, creating a dialogue between digital precision and human presence. These subtle frictions underscore a larger tension at play: how can technology become part of the artistic process without erasing the mark of the maker? Rather than treating digital colour as static or sterile, the artists in this exhibition imbue it with emotion, memory, and presence—breathing life into what is often perceived as artificial

This exhibition is part of a continuous project that examines how post-digital colour—once confined to the screen—is now spreading into our physical world, reshaping how we see, feel, and create across both digital and analog spaces. It invites viewers to reconsider the nature of colour itself: is it real, simulated, or suspended somewhere in between? As the boundary between virtual and physical realities continues to dissolve, post-digital colours emerge not just as a palette, but as a metaphor—signifying a world in transition, where the human and the synthetic no longer stand in opposition, but collaborate in shaping contemporary visual culture.

As the first iteration of this ongoing project, the exhibition also serves as a platform for artists to experiment, respond, and expand upon the possibilities of post-digital aesthetics. Your contribution plays a critical role in shaping the dialogue around this emerging language of colour—bridging digital influence with material practice, and offering personal, poetic, or political interpretations of a rapidly evolving visual culture.

Rather than providing fixed answers, this exhibition embraces uncertainty, experimentation, and transformation. Your work will become part of a larger conversation—one that challenges conventional boundaries between artificial and organic, digital and handmade, inviting us to imagine new ways of seeing, making, and connecting.

  • MALAYSIA
  • Amirul Md Noor

Amirul Md. Noor, also known as Amad (b.1996), originating from Kuala Berang, Terengganu. Driven by his passion, he furthered his practice by pursuing a Master’s degree in Fine Art and Technology at UiTM, and is a co-founding members of Empati Studio. Since 2019, his work has explored expressionism through drawing and painting, shifting from paint to charcoal as he became deeply engaged with the human figure and the subtleties of body language. Influenced by nonverbal communication such as dance and physical gesture, his works reflect a fascination with how movement conveys meaning beyond words.

Amad’s artistic journey continues to evolve with explorations that intersect nature, society, and technology. His first solo, Echoes of Resilience, confronted themes of diversity, beauty standards, and social media’s grip on identity, exposing the tensions of contemporary life. In his latest works, “Staring Woods” and “Rhizome” explore the tension between nature, transformation, and post-digital aesthetics through interconnected visual environments. Drawing inspiration from fallen trees, tangled roots, and the layered ecosystems of aquascaping, the works reflect on endurance, memory, and the fragile balance between structure and chance. Rough textures, fragmented forms, and faded surfaces merge with vibrant, digitally infused hues, evoking moments of renewal emerging from decay. Organic elements intertwine with artificial disruptions, creating metaphors for unstable natural, social, and political systems. Through rhizomatic compositions that appear to grow, dissolve, and reconfigure, the works frame life as a continuous interplay between beauty and conflict, stillness and movement, the organic and the synthetic. Together, the two artworks contemplate what remains after transformation, suggesting that beneath collapse and uncertainty lies persistence, adaptability, and the quiet resilience of living systems constantly evolving through time.

  • Badrulzzaman Abu

Badrulzzaman Abu (b.1995, Sungai Petani, Kedah) earned his Master’s in Fine Art from UiTM Shah Alam in 2019. His practice explores nature’s layers, abstractions, and symbolism, often through bitumen and oil, creating landscapes that shift between chaos and harmony. Flowers and flora are central to his visual language—not only as aesthetic forms but as symbols of life, sustenance, and spiritual fitrah. By abstracting natural elements into layered compositions, his works open space for memory, contemplation, and socio-political reflection on humanity’s bond with nature.

Visually, his paintings are defined by bold brushwork, vibrant non-naturalistic palettes, and surreal undertones that move away from realism toward a poetic simplicity. In his recent works “Cosmos in the Garden“, “Hidden Flower”, and “Sunny Days“, Badrulzzaman deepens his exploration of nature through abstract and organic interpretations of leaves and blossoms. Colours “borrowed” from flora unfold through layered applications—delicate, dense, and translucent—evoking both the textures and rhythms of the natural world while reflecting its fragility and resilience. Through these compositions, organic forms emerge and dissolve across the surface, creating immersive visual environments that balance stillness and vitality. By synthesizing abstraction with botanical references, Badrulzzaman positions nature as an active and living presence—one that embodies beauty, cultural resonance, and an urgent reflection on sustainability and environmental consciousness.

  • Fadzril Fakaruddin

Construct textured abstractions and “mindscapes” that explore the intersection of memory, emotion, and nature. Fadzril Fakaruddin’s (b.1995) practice investigates internal landscapes shaped by observed reality and the manipulation of colour, texture, and organic form. Drawing from Malaysian batik motifs alongside elements of flora, rivers, mountains, and volcanic terrains, he develops semi-abstract compositions that oscillate between cultural reference, personal memory, and imagined environments. Recurring motifs such as sunflowers and roses function symbolically, articulating life’s dualities—growth and decay, harmony and disruption—while his saturated palette and layered brushwork subtly recall Fauvist sensibilities within a distinctly local visual language.

Across this body of work, Fadzril transforms landscapes into emotional and psychological spaces shaped by travel and introspection. Inspired by his journey to Kazakhstan, snow-covered scenes unfold with a melancholic yet poetic atmosphere, where silent trees, flowing water, and falling snow become fragments of lived experience. Through translucent layering, splashes, and soft monochromatic tones, his works emphasize mood over representation, positioning nature as both therapeutic and symbolic—reflecting narratives of love, renewal, identity, and remembrance within the contemporary Malaysian context.

  • Faez Fahmi

Faez Fahmi (b. 1998) is deeply rooted in his upbringing in Bachok, Kelantan, where the countryside and seaside shaped his sensitivity to light, form, and time. In his debut solo exhibition “Luar Jendela”, Faez translated these experiences into abstract, poetic interpretations that merge cultural heritage with contemporary sensibilities. His distinctive method of building layered textures creates an illusion of emerging, almost tactile imagery.

His visual language is grounded in sincerity, cultural memory, and personal emotion. Employing humble yet potent materials, he explores themes of identity, nature, and harmony, creating works that resonate with depth and immediacy. Through rich textures and floral patterns, his compositions reflect both the vibrancy of his Kelantanese roots and his lived experience, where personal memory and environment converge.

“The Garden After Colour” and “Rise into Freedom” explore transformation, hope, and emotional awakening through vivid landscapes shaped by colour and symbolism. In both works, hyper-saturated hues become the dominant visual language, constructing immersive environments where floral forms, butterflies, mountains, and expansive skies emerge through layered compositions. Moving between darkness and light, dawn and dusk, the paintings evoke transitions that are both physical and psychological, reflecting the tension between limitation and liberation. Influenced by post-digital visual culture, bursts of intense colour create a heightened sensory experience, while organic elements symbolize resilience, renewal, and the persistence of life. Through poetic rhythms of layering and atmospheric shifts, the works suggest journeys of inner awakening and emotional release, where nature becomes a metaphor for freedom, transformation, and self-expression. Together, the two artworks position landscape not merely as scenery, but as a symbolic space where imagination, memory, and the desire for transcendence converge.

  • Fana Douau

Fana Douau (b.1990) is an emerging artist from Malacca, Malaysia, known for her vibrant and expressive art pieces. She completed her Diploma in Fine Art at the renowned Malaysian Institute of Art (M.I.A) in 2021. In her earlier works, Fana was deeply influenced by the post-impressionist style, focusing primarily on nature as her subject matter. Over time, her artistic approach evolved as she began experimenting with various techniques and materials, including acrylics, charcoal, fumage, and beadwork. This exploration has shaped her current style, which centers around joyful, emotionally resonant subjects like pets, particularly cats and dogs. Fana uses bright, brilliant colors to convey happiness and emotion directly from her heart to the canvas, creating art that is both exhilarating and uplifting for viewers.

“Playground of Joy: Dogs” and “Mr. Fruity” celebrate innocence, companionship, and the playful beauty found in everyday moments. Drawing inspiration from the joyful presence of cats and dogs, the works transform familiar spaces into whimsical environments filled with colour, movement, and warmth. In “Playground of Joy: Dogs“, the playground becomes a metaphorical space of freedom and shared happiness, capturing fleeting moments of wonder and imagination unburdened by self-consciousness. Meanwhile, “Mr. Fruity” reimagines the traditional still life through an unlikely gathering of cats and dogs nestled within a vibrant fruit bowl, where contrasting personalities coexist in harmony and abundance. Through playful compositions and vivid visual language, both works reflect on the sweetness of companionship, the beauty of diversity, and the emotional comfort animals bring into daily life. Together, the artworks invite viewers to reconnect with simplicity, reminding us that joy is not something discovered, but something created collectively through presence, play, and connection.

  • Izzaty Zainudin

Izzaty Zainudin (b. 2001) is a Selangor-born emerging artist who graduated with a BA (Hons) in Fine Arts in 2024. Her practice incorporates upcycled materials such as old clothes, cut canvas, and hand-sewn elements, emphasizing sustainability while weaving personal and cultural narratives into her process. By embracing imperfection and organic irregularity, Izzaty’s works embody both playfulness and sincerity, reflecting a contemporary sensibility grounded in material experimentation.

“Somewhere Out There in All That Noise…” and “In Every Universe, I Will Always Be Your…” draw inspiration from the post-digital colours and layered cinematic aesthetics of the film “Everything Everywhere All at Once” (dir. Daniel Scheinert & Daniel Kwan). Through vibrant palettes, sewn textures, and upcycled materials, the works reinterpret the film’s visual language to explore themes of multi-realities, emotional depth, and the shifting transitions of life. Colour functions as both a playful and purposeful element, constructing immersive compositions that balance spontaneity, imperfection, and emotional resonance. The open-ended titles invite personal interpretation, reflecting the fluidity of relationships and the multiplicity of roles we inhabit—mother, friend, lover, or rival—across different moments and realities. Through this interplay of material, colour, and fragmented narratives, Izzaty’s works examine continuity and connection within an increasingly complex contemporary world. Together, the two artworks position visual language beyond aesthetics, transforming it into a space for reflection on intimacy, memory, and the enduring emotional ties that persist across time and circumstance.

  • Izzuddin Basiron

Izzuddin Basiron (b. 1994) is a rising contemporary artist with a strong foundation in fine art, holding a Bachelor of Fine Art from Universiti Teknologi MARA (UiTM). Known for his compelling and visually striking works, he has presented notable solo exhibitions including “Kota Kromatik” (2023) and “Bricks Symphony” (2024). His fascination with Brutalist architecture informs his practice, where sharp geometric designs and monumental forms become central to his visual language. This architectural influence is reimagined through vibrant palettes, resulting in works that fuse structural precision with expressive energy. Recognized as one of the 13 Best Artists in the Malaysia Emerging Artist Award (MEAA) 2022, and showcased internationally at Art Formosa in Taiwan, Izzuddin continues to establish himself as a distinctive voice in contemporary art.

“City in Technicolour” reimagines the urban landscape as a vibrant, living entity where architecture transcends muted rigidity to pulse with bold, tropical colours. Geometric forms and palm trees converge in playful chaos, reflecting a city infused with warmth, rhythm, and imagination. This work challenges conventional perceptions of urban spaces, suggesting that cities are not merely built from concrete and steel, but also from the dreams, emotions, and vibrant energies of those who inhabit them.

  • Shahnaz Azlin

Shahnaz Azlin (b. 1995, Kedah, Malaysia) is a visual artist whose practice reflects a deep engagement with the phenomenology of landscapes. He graduated with a BA in Fine Art from UiTM Shah Alam in 2018, following his diploma studies at UiTM Seri Iskandar, Perak, where he was actively involved in institutional exhibitions. His early career was shaped by international exposure through an internship with Saung Banon Arts in Yogyakarta, Indonesia (2017), and that same year, he was a finalist in the MiDF competition. Since then, he has participated in various art initiatives, including Bakat Muda Sezaman (2021), where he received the People’s Choice Award, and the Mr. DIY Art Competition (2023), where he earned a Special Mention.

Shahnaz’s practice currently explores the layered qualities of landscapes, where the act of seeing becomes a journey of perception and memory. Through the concept of “Lapisan” (layers), he examines how mountains, skies, and horizons unfold as metaphors for time, solitude, and experience. His textural works embody both stillness and movement, inviting viewers to traverse the space between the real and the imagined, the fleeting and the eternal.

Each composition forms a kind of “Gugusan”, a gathering of layered moments that resonate with balance, rhythm, and quiet harmony. Drawing deeply from nature’s essence, Shahnaz’s works offer contemplative spaces that reflect not only the external land before us but also the inner landscapes carried within—of memory, discovery, and horizons that continually open to new beginnings.

  • Syahmi Jamaluddin

Syahimi Jamaluddin (b. 1993, Batu Pahat, Johor) graduated from UiTM in 2016 with a Diploma in Fine Art (Painting). Even before completing his studies, he had begun to gain recognition within the Malaysian contemporary art scene through exhibitions and awards. Notably, in 2015 he received both the Grand Award and the Galeri Petronas Director’s Award at the Energy Future, Past and Present Competition held at Petronas Gallery, Kuala Lumpur, where he was also named “Potential Breakout Artist”. His trajectory has continued to grow, with a significant milestone in 2022 when he was awarded the Malaysian Emerging Artist Award (MEA) by HOM Art Trans, in partnership with CIMB Foundation.

Syahimi’s artistic practice extends the conventional boundaries of printmaking through experimentation with diverse materials and techniques. Influenced by the pioneering works of Robert Rauschenberg and Malaysian contemporary artist Zulkifli Yusof, he adopts their spirit of innovation in layering printmaking with other mediums. His approach often merges painted areas with printed overlays, producing rich textures and dimensionality within the pictorial plane. In his recent explorations, Syahimi has pushed this further by layering Perspex over canvas, printing across multiple surfaces to create imagery that shifts with depth and light — a method that adds new meaning to the phrase “layers of seeing.”

In “An Attemptness to Taste the Sweetness” and his reinterpretation of the Malay idioms “kambing hitam” (black goat) and “kuda hitam” (black horse), Syahmi explores themes of resilience, manipulation, and societal contradiction through layered symbolism and irony. The bee, positioned within turbulent and overlapping patterns reminiscent of camouflage and organic forms, becomes a metaphor for tireless labor, persistence, and the fragile pursuit of beauty amid uncertainty. Emerging and dissolving across the surface, it reflects the human desire to seek clarity and sweetness within chaotic environments. Complementing this exploration, Syahmi reimagines the black goat as a symbol of exploitation and scapegoating, while the black horse signifies the unexpected rise of the overlooked. Through a satirical incorporation of the Halal logo, the works critique how systems of morality and justification are often manipulated to legitimize questionable actions. Together, the two artworks examine the complexities of power, ethics, and survival within contemporary social realities.

  • Tong Xin Lim

Tong Xin Lim (b.2001) is an emerging Malaysian artist whose practice blends traditional and contemporary approaches to explore themes of identity, culture, and personal experience. Trained in fine arts, she has developed a distinctive visual language marked by intricate detail and a sensitive engagement with mixed media. Her works often reflect her cultural heritage while responding to the complexities of contemporary life, forming layered visual narratives that resonate with both personal and collective memory.

In this work, Tong constructs a fragmented, abstract cityscape through a pixelated grayscale background, evoking the disjointed and constructed nature of the modern, man-made environment. The rigid, repetitive structure of the city suggests a world shaped by systems, density, and distance—where clarity is disrupted and perception becomes fragmented.

In contrast, the foreground presents a delicately balanced stack of vividly colored stones, symbolizing the quiet resilience and grounding force of nature. As towering urban forms obscure the sky and moments of stillness, the work gently reminds viewers of nature’s enduring presence—inviting reflection on balance, awareness, and the need to reconnect with what remains essential yet often overlooked.

  • Yean Ni Koo

Born in 1994, Yean Ni Koo is a fine art graduate from Dasein Academy of Art who has been dedicated to her practice since her student years. Since graduating in 2015, she has actively participated in numerous local group exhibitions and has recently expanded her reach to Hong Kong and Shanghai. In 2016, she held her first solo exhibition at Findars Art Space. Her achievements include winning first prize in the Petron Art Competition (painting category) and first runner-up in the Maybank Hari Raya Aidilfitri Creative Wau Design Competition. She has also been selected for several prestigious competitions in Malaysia, such as Bank Negara’s Tanpa Nama 2 and the Nando’s Art Initiative.

Koo Yean Ni’s work draws inspiration from the naïve, pure, and innocent qualities of folk art and children’s art. Her vibrant paintings, collages, and embroidery works reflect a spontaneous and unconstrained approach, shaped by her love for folk traditions and years of observing children’s creativity through teaching. Embracing everyday life, cultural memory, and traditions of her homeland, she records and preserves socially significant moments through a joyful process of imaginative play. Her works carry anthological, nostalgic, and sentimental qualities, inviting viewers into a world of warmth and sincerity.

The “Joyful Guardians” series celebrates companionship, protection, and emotional healing through playful imagery and vibrant colors. Characters combining elements of animals, toys, and human emotions embody guardian spirits with innocent yet determined expressions—symbols of quiet strength that accompany us through life’s stages. Checkerboard patterns and blooming flowers evoke rhythm, growth, and hope, while the interplay of vivid hues and intricate details creates a dreamlike atmosphere that uplifts and comforts. Guardian of Sunshine uses warm orange-red tones to symbolize vitality, joy, and positivity—like a friend who greets you each morning with light and hope. Guardian of Dreams embraces purples and deep hues of night, portraying a gentle protector of imagination who brings comfort and safety in quiet hours.

  • Zharfan Rashidi

Zharfan Rashidi (b. 2001, Pendang, Kedah) is an emerging Malaysian artist who recently completed his Bachelor’s Degree in Fine Art at UiTM Shah Alam (2024). Known also as Apan, he has been actively involved in group exhibitions, including the International Art Connoisseurship Colloquium at Al Biruni Gallery, Perak. His practice has already received recognition, notably when he was awarded the Jury’s Choice Award in SPOTLIGHT, an art competition organised by Penang Art District at China House, Penang (2023). These early milestones signal his presence as a fresh voice in Malaysia’s contemporary art landscape.

Zharfan’s latest body of work examines the evolving relationship between colour, technology, and identity in the Post-Digital age. His practice is rooted in questioning how digital screens have reshaped human perception, particularly through hyper-saturated RGB palettes and artificial filters that dominate contemporary visual culture. By appropriating shocking pinks, electric yellows, deep purples, and intense reds from screen-based media and transforming them through painterly gestures, textured layering, and material experimentation, Zharfan reclaims these digital colours within the tactile language of painting. This approach allows his works to negotiate between the synthetic and the sensory, reconnecting the artificial glow of technology with the human hand.

At the core of his compositions are surreal flora—stylised, fantastical flowers that twist, morph, and explode with raw energy. Far from decorative motifs, these blooms function as metaphors for modern femininity: complex, imperfect, and unapologetically alive. Their unruly forms resist traditional ideals of beauty, instead embracing chaos, resilience, and transformation. By staging a dialogue between the digital and the organic, Zharfan challenges viewers to reflect on their own digital conditioning while rediscovering colour’s physical and emotional resonance. His works ultimately celebrate imperfection, strength, and authenticity, offering a feminist and humanistic lens within a world increasingly mediated by algorithms.

  • PHILIPPINES
  • Ikang Gonzales

Ikang Gonzales (b. 1995) is an artist based in Quezon City with a background in Architecture and Fine Arts. Her practice explores light as both subject and medium through intricate oil paintings on translucent fabric. By weaving light and pigment into a single illuminated surface, she creates works that are at once delicate and immersive. Her visible brushstrokes reveal the vulnerability of the process, allowing viewers to witness the act of making in an intimate and unguarded way.

Working within a digital age saturated with information, Ikang reflects on a collective longing for tactile and nostalgic experiences. She draws from the impulse to hold onto objects of the past—things that feel manual, mechanical, almost acoustic—as a response to the speed and excess of contemporary life. Her works become spaces of stillness, inviting quiet reflection amid constant visual noise.

In “End of Beginning“, Ikang departs from her usual lightbox constructions, allowing natural light to pass through the surface. The depicted interior—an unmade bed, softened morning light, and traces of everyday presence—evokes a moment suspended between absence and memory. The quiet disarray of the space suggests a life just lived, where time lingers gently. Here, light is not only illumination, but a carrier of emotion—marking a subtle transition, where endings and beginnings quietly converge.

  • Lance Gomez

Lance Gomez (b. 1997) merges minimalism with a subtle sense of theatricality, drawing viewers into the quiet drama embedded within everyday objects and landscapes. His works construct restrained yet evocative scenes where symbolism and composition transform the ordinary into sites of reflection, shaped by both his natural and social environment.

A contemplative stillness permeates his paintings, often accompanied by an underlying tension that evokes isolation and introspection. Drawing from Impressionist sensibilities, Lance focuses on capturing atmosphere and fleeting light rather than direct representation, using layered hues to shape mood and perception. As a keen observer of history, his practice engages with contemporary issues in the Philippines, examining how the past continues to inform present realities.

In his latest works, Lance extends this inquiry by exploring color as a precursor to the “filter.” Through layered tones of blues, teals, and deep greens, each brushstroke functions as a lens—suggesting that contemporary digital filters are rooted in painterly traditions, transforming ordinary landscapes into perceptual and emotional atmospheres.

  • Regina Reyes

Regina Reyes (b.1993) reflects on memory, womanhood, and time through a language that is both intimate and evocative. In her recent works, she turns to recollections of the 1990s—a time she associates with vivid, unfiltered color and tactile experience. The scattered floral compositions and expressive figurative scenes recall a sensibility shaped before digital mediation, where colors felt immediate, unprocessed, and deeply personal. These works evoke a softness and spontaneity that mirror memory itself—fragmented, layered, and emotionally charged.

Through fluid brushstrokes and shifting palettes, Regina contrasts this remembered clarity with the altered perception of the present. The works suggest a tension between past and present—between a world experienced directly and one filtered through screens and systems. Her imagery does not reject change, but instead lingers in the space between resistance and acceptance, holding onto the emotional truth of memory while acknowledging transformation.

In this body of work, color becomes both subject and vessel—carrying nostalgia, dissonance, and quiet reconciliation. Regina captures a fleeting state of in-betweenness, where the desire to preserve what was coexists with the need to move forward.

  • Thailand
  • Asmawee Karee

Asmawee Karee (b. 1999) is an artist from Betong, Thailand, who recently graduated with a Master’s degree in Visual Arts from Silpakorn University, Bangkok in 2025. Since 2019, he has been actively participating in art competitions and exhibitions. In 2022, he was awarded the Bronze prize in the UOB Painting of the Year (Emerging Artist category) and received an art education scholarship from the Statesman Foundation General Prem Tinsulanonda to further pursue his artistic practice.

In his work, color functions not merely as an aesthetic element but as a symbolic language that expresses emotional states and lived experiences. Through the use of contrasting warm and cool tones, Asmawee constructs atmospheric imagery that reflects the duality of day and night—suggesting hardship alongside quiet anticipation and resilience.

This series is inspired by the flooding that occurred in southern Thailand in 2025. Interpreting the event through layered compositions of submerged homes, scattered objects, and drifting forms, the works transform a moment of crisis into a contemplative visual narrative. The scenes evoke both loss and stillness, where devastation coexists with a sense of endurance and hope.

  • Panuwat Kamdee

Panuwat Kamdee (b. 1999) is an artist from Lamphun, Thailand, currently pursuing a Master’s degree in Visual Arts at Silpakorn University, Bangkok. Working with natural pigments and whimsical illustrative elements, his practice reflects a deep passion for Thai myths, legends, and narratives. Since 2020, he has actively participated in exhibitions and art projects, and in 2021 was awarded a creative art scholarship from the Statesman Foundation General Prem Tinsulanonda.

His works are expressed through a distinctive painting style using pastel techniques, producing soft, smooth tones and a warm, approachable character. Rooted in Thai myths and cultural narratives, his practice reinterprets traditional storytelling through a contemporary lens with clarity and sensitivity.

Central to his imagery in Moonfaith, he visualizes the folklore of the moon rabbit—a symbol of selfless sacrifice and enduring kindness passed down through generations. The purity of this belief, of a rabbit residing on the moon’s glowing surface, evokes a quiet sense of wonder and childhood innocence.

Alongside this, the work Phanuwat represents prosperity, hope, and the beginning of a journey. The child wearing a lion head embodies youth, growth, and the nurturing of inner strength. Under this gentle light, each step forward is no longer a simple movement, but a stride carried by courage, energy, and hope—reminding us that every journey begins with belief.

  • Thanakan Klannakorn

Thanakan Klannakorn (b.2000) is a Bangkok-based painter whose practice examines the relationship between object, time, and perception. He earned his Bachelor’s degree in Painting from Poh-Chang Academy of Arts and a Master’s degree from Silpakorn University. His work recontextualizes overlooked everyday objects—such as plastic flowers, fabric remnants, and discarded materials—within carefully constructed pictorial spaces. Through a meditative and meticulous process, he positions painting as a temporal and emotional field where perception unfolds gradually rather than as a fixed image.

Fundamental to his practice is the idea of “intervals” between image, object, and meaning. By placing mundane materials within compositions informed by symmetry, geometry, and baroque lighting, these objects exist in a state of in-betweenness—both familiar and estranged. Drawing from frameworks such as appropriation and deconstruction, Thanakan treats objects as carriers of memory that, once displaced, lose their original function while gaining new interpretive possibilities. His works invite slow looking, where silence, duration, and ambiguity shape the viewer’s experience.

In this work, he explores the tension between digital artificiality and material authenticity. Referencing Woman with a Parasol, the composition layers visual histories—from Renaissance order to Baroque drama—while mimicking the aesthetics of print and pixelation. Rather than revisiting the past, the work reflects a contemporary visual condition shaped by screens, where history is encountered as reproduction. The figure becomes a vessel of accumulated images, traversing centuries of beauty while preserving them against time’s erosion.

Top