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Page 1: Journey Behind the Scenes by Auxchanok  Chirakul

Journey Behind the Scenes Auxchanok Chirakul

Page 2: Journey Behind the Scenes by Auxchanok  Chirakul
Page 3: Journey Behind the Scenes by Auxchanok  Chirakul

4 - 28 April 2013 at The National Gallery

4 Chao Fah Road, Phra Nakhon Bangkok 10200 THAILAND

Journey Behind the Scenes

Auxchanok Chirakul

Page 4: Journey Behind the Scenes by Auxchanok  Chirakul

āđ€āļŠāļ™āļ—āļēāļ‡āļ™āļēāļĄāļ˜āļĢāļĢāļĄāļ‚āļ­āļ‡āļ­āļąāļ„āļĢāļŠāļ™āļ āļŠāļīāļĢāļ°āļāļļāļĨ

Page 5: Journey Behind the Scenes by Auxchanok  Chirakul

āļšāļ™āđ€āļŠāđ‰āļ™āļ—āļēāļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĻāļīāļĨāļ›āļ°āļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļ āļŠāļīāļĢāļ°āļāļļāļĨ āđƒāļ™āļŠāđˆāļ§āļ‡āļŠāļ­āļ‡āļ—āļĻāļ§āļĢāļĢāļĐāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āļˆāļ°āđ€āļŦāđ‡āļ™āđ„āļ”āđ‰āļ§āđˆāļē āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āļ„āļ·āļ­āļŠāļīāđˆāļ‡āļ—āļĩāđˆāđƒāļŦāđ‰āļ„āļ§āļēāļĄāļšāļąāļ™āļ”āļēāļĨāđƒāļˆāđāļĨāļ°āđ€āļ›āđ‡āļ™āđāļĄāđˆāđāļšāļšāđƒāļ™āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ‚āļ­āļ‡āđ€āļ‚āļēāļ­āļĒāđˆāļēāļ‡āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡ āļĻāļīāļĨāļ›āļīāļ™āļœāļđāđ‰āļ™āļĩāđ‰āđ„āļ”āđ‰āļ­āļļāļ—āļīāļĻāđ€āļ§āļĨāļēāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļēāđƒāļ™āļŠāļĩāļ§āļīāļ•āļ­āļĒāļđāđˆāļāļąāļšāļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ•āļēāļĄāļŠāļ–āļēāļ™āļ—āļĩāđˆāļ•āđˆāļēāļ‡āđ† āļ—āļĩāđˆāđ€āļ‚āļēāđ„āļ›āđ€āļĒāļ·āļ­āļ™ āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāļĻāļķāļāļĐāļēāļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāđāļĨāļ°āļŠāļĢāļĢāļžāļŠāļīāđˆāļ‡āļ•āđˆāļēāļ‡āđ†āđƒāļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļˆāļ™āđ€āļāļīāļ”āļ„āļ§āļēāļĄāđ€āļ‚āđ‰āļēāđƒāļˆāļ­āļĒāđˆāļēāļ‡āļĨāļķāļāļ‹āļķāđ‰āļ‡ āđ€āļ‚āļēāđ„āļ”āđ‰āļ„āđ‰āļ™āļžāļšāļŠāļēāļĢāļ°āļ‚āļ­āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļ„āļ§āļēāļĄāļŦāļĄāļēāļĒ āļĢāļđāļ›āļ—āļĢāļ‡ āļŠāļĩāļŠāļąāļ™āļŠāļĩāļ§āļīāļ•āđāļĨāļ°āļ„āļ§āļēāļĄāļ‡āļēāļĄāļ—āļēāļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļŠāđˆāļ‡āļœāļĨāđƒāļŦāđ‰āđ€āļ‚āļēāđ€āļāļīāļ”āļ„āļ§āļēāļĄāļŠāļ‡āļšāļŠāļļāļ‚āļ—āļēāļ‡āđƒāļˆ āļ—āļĩāđˆāđ„āļĄāđˆāļ­āļēāļˆāļ­āļ˜āļīāļšāļēāļĒāđ„āļ”āđ‰āļ”āđ‰āļ§āļĒāļ„āļģāļžāļđāļ” āđāļ•āđˆāđ€āļ‚āļēāļŠāļēāļĄāļēāļĢāļ–āļ–āđˆāļēāļĒāļ—āļ­āļ”āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ āļēāļžāļœāđˆāļēāļ™āļ‡āļēāļ™āļˆāļīāļ•āļĢāļāļĢāļĢāļĄ āļ”āđ‰āļ§āļĒāļāļēāļĢāđƒāļŠāđ‰āļŠāļĩāđāļĨāļ°āļĢāđˆāļ­āļ‡āļĢāļ­āļĒāļ‚āļ­āļ‡āļ—āļĩāļžāļđāđˆāļāļąāļ™āļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļ‡āļ”āļ‡āļēāļĄāđ€āļ›āđ‡āļ™āļŠāļ·āđˆāļ­āđƒāļ™āļāļēāļĢāđāļŠāļ”āļ‡āļ­āļ­āļ āļœāļĨāļ‡āļēāļ™āđƒāļ™āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ—āļĩāđˆāļ™āļģāļĄāļēāļˆāļąāļ”āđāļŠāļ”āļ‡āļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰āļĄāļĩāļˆāļģāļ™āļ§āļ™ 12 āļ āļēāļž āļ›āļĢāļ°āļāļ­āļšāļ”āđ‰āļ§āļĒāļœāļĨāļ‡āļēāļ™āļ—āļĩāđˆāļœāļĨāļīāļ•āļ‚āļķāđ‰āļ™āđƒāļ™āļ›āļĩ āļž.āļĻ.2552 āđāļĨāļ°āļœāļĨāļ‡āļēāļ™āļ—āļĩāđˆāļ—āļģāļ‚āļķāđ‰āļ™āđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™ āļœāļĨāļ‡āļēāļ™āđƒāļ™āļŠāđˆāļ§āļ‡āđāļĢāļāđāļŠāļ”āļ‡āđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āļ–āļķāļ‡āļāļēāļĢāļ„āļĨāļĩāđˆāļ„āļĨāļēāļĒāļĢāļđāļ›āđāļšāļšāļˆāļēāļāļ­āļīāļĄāđ€āļžāļĢāļŠāļŠāļąāđˆāļ™āļ™āļīāļŠāļ•āļīāļ„ (IMPRESSIONISTIC) āļĄāļēāļŠāļđāđˆāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ™āļēāļĄāļ˜āļĢāļĢāļĄ (CHROMATIC ABSTRACTION) āļ—āļĩāđˆāđ€āļ™āđ‰āļ™āđƒāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļŠāļēāļĢāļ°āļŠāļģāļ„āļąāļāļ‚āļ­āļ‡āļŠāļĩāđāļĨāļ°āļžāļ·āđ‰āļ™āļ—āļĩāđˆ (SPACE) āļ‚āļ­āļ‡āļŠāļĩāđƒāļ™āļ‡āļēāļ™āđ€āļ›āđ‡āļ™āļŦāļĨāļąāļ āļŠāļĩāļ—āļĩāđˆāļ›āļĢāļēāļāļāđƒāļ™āļ‡āļēāļ™āļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāđ€āļ›āđ‡āļ™āļŠāļĩāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āđ€āļ­āļāļĨāļąāļāļĐāļ“āđŒāđ€āļ‰āļžāļēāļ° āļŠāđˆāļ§āļ™āļŦāļ™āļķāđˆāļ‡āļ‚āļ­āļ‡āļŠāļĩāļĄāļĩāļ—āļĩāđˆāļĄāļēāļˆāļēāļāļŠāļīāđˆāļ‡āļ•āđˆāļēāļ‡āđ†āđƒāļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāđāļĨāļ°āļ­āļĩāļāļŠāđˆāļ§āļ™āļŦāļ™āļķāđˆāļ‡āļ„āļ·āļ­āļŠāļĩāļ—āļĩāđˆāļ–āđˆāļēāļĒāļ—āļ­āļ”āļĄāļēāļˆāļēāļāļ­āļēāļĢāļĄāļ“āđŒāļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ āļēāļĒāđƒāļ™āļ‚āļ­āļ‡āđ€āļ‚āļēāđƒāļ™āļ‚āļ“āļ°āļ—āļĩāđˆāđ€āļ‚āļĩāļĒāļ™āļ āļēāļž āļœāļĨāļ‡āļēāļ™āđƒāļ™āļŠāļļāļ”āđāļĢāļ āļĻāļīāļĨāļ›āļīāļ™āđƒāļŠāđ‰āļŠāļĩāđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāđāļĨāļ°āđāļŠāļ‡āđƒāļ™āļŠāđˆāļ§āļ‡āđ€āļ§āļĨāļēāļ—āļĩāđˆāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļœāđˆāļēāļ™āļ‚āļ­āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāđāļĨāļ°āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ‚āļ­āļ‡āđ€āļ‚āļēāđƒāļ™āļŠāļ āļēāļ§āļ°āļāļēāļĢāļ“āđŒāļ•āđˆāļēāļ‡āđ† āļŠāđˆāļ§āļ™āļĢāļđāļ›āļ—āļĢāļ‡āļ—āļąāđ‰āļ‡āļŦāļĨāļēāļĒāđƒāļ™āļ‡āļēāļ™āđāļĄāđ‰āļˆāļ°āđ€āļ›āđ‡āļ™āļĢāļđāļ›āļ—āļĢāļ‡āļ™āļēāļĄāļ˜āļĢāļĢāļĄ āđāļ•āđˆāļāđ‡āļĒāļąāļ‡āđāļāļ‡āļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāđƒāļŦāđ‰āđ€āļŦāđ‡āļ™āđāļĨāļ°āļˆāļīāļ™āļ•āļ™āļēāļāļēāļĢāļ•āđˆāļ­āđ„āļ›āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļ­āļīāļŠāļĢāļ° āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ‚āļ­āļ‡āļŠāļĩāđƒāļ™āļ āļēāļž āđ€āļāļīāļ”āļˆāļēāļāļāļēāļĢāļ›āđ‰āļēāļĒāļŠāļĩāļ—āļĩāđˆ āļ—āļąāļšāļ‹āđ‰āļ­āļ™āļāļąāļ™āļ­āļĒāđˆāļēāļ‡āļāļĨāļĄāļāļĨāļ·āļ™ āļāđˆāļ­āđƒāļŦāđ‰āđ€āļāļīāļ”āļĄāļīāļ•āļīāđāļĨāļ°āļĢāļ°āļĒāļ°āļ—āļĩāđˆāļāļ§āđ‰āļēāļ‡āđ„āļāļĨ āđƒāļŦāđ‰āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāđƒāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļ‚āļ­āļ‡āđāļŠāļ‡āļ—āļĩāđˆāđāļāļ‡āļ­āļĒāļđāđˆāļ āļēāļĒāđƒāļ•āđ‰āļŠāļĩāđ€āļŦāļĨāđˆāļēāļ™āļąāđ‰āļ™ āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāļĄāļĩāļ„āļ§āļēāļĄāđ€āļ‚āđ‰āļēāđƒāļˆāđāļĨāļ°āļĄāļĩāļ„āļ§āļēāļĄāļŠāļģāļ™āļēāļāđƒāļ™āļāļēāļĢāđƒāļŠāđ‰āļŠāļĩ āļāļēāļĢāļ„āļ§āļšāļ„āļļāļĄāđ‚āļ—āļ™āļ‚āļ­āļ‡āļŠāļĩ āđāļĨāļ°āļāļēāļĢāđƒāļŠāđ‰āļŠāļĩāļ•āļĢāļ‡āļāļąāļ™āļ‚āđ‰āļēāļĄ āđƒāļŦāđ‰āļ›āļĢāļ°āļŠāļēāļ™āļŠāļąāļĄāļžāļąāļ™āļ˜āđŒāļāļąāļ™āļ­āļĒāđˆāļēāļ‡āļāļĨāļĄāļāļĨāļ·āļ™ āļ­āļĒāļđāđˆāļ”āđ‰āļ§āļĒāļāļąāļ™āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļĄāļĩāđ€āļ­āļāļ āļēāļžāđāļĨāļ°āļ”āļļāļĨāļĒāļ āļēāļž āļŠāļĩāđ‚āļ”āļĒāļĢāļ§āļĄāļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāļĄāļĩāļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļžāļīāđ€āļĻāļĐāļ—āļĩāđˆāļĄāļīāļ­āļēāļˆāļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āđ„āļ”āđ‰āđƒāļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļˆāļĢāļīāļ‡ āļ—āļ§āđˆāļēāļŠāļĩāļ—āļĩāđˆāļ›āļĢāļēāļāļāđƒāļ™āļ‡āļēāļ™āđ€āļ›āđ‡āļ™āļŠāļĩāļŠāļ”āđƒāļŠāļŠāļ°āļ—āđ‰āļ­āļ™āļĄāļēāļˆāļēāļāđ‚āļĨāļāļ āļēāļĒāđƒāļ™āļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāļ„āļ·āļ­āļ­āļēāļĢāļĄāļ“āđŒāļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļ āļ„āļ§āļēāļĄāļ›āļĢāļ°āļ—āļąāļšāđƒāļˆ āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāđāļĨāļ°āļˆāļīāļ™āļ•āļ™āļēāļāļēāļĢāļ‚āļ­āļ‡āđ€āļ‚āļēāđ€āļ­āļ‡ āļœāļĨāļ‡āļēāļ™āļ—āļĩāđˆāļœāļĨāļīāļ•āļ‚āļķāđ‰āļ™āđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™āđ„āļ”āđ‰āļžāļąāļ’āļ™āļēāļ•āđˆāļ­āļĄāļēāļ­āļĩāļāļĢāļ°āļ”āļąāļšāļŦāļ™āļķāđˆāļ‡ āļŠāļĩāļĒāļąāļ‡āļ„āļ‡āđ€āļ›āđ‡āļ™āļŠāļēāļĢāļ°āļŠāļģāļ„āļąāļāđƒāļ™āļ‡āļēāļ™ āļ„āļ§āļēāļĄāļŠāļ‡āļšāļ™āļīāđˆāļ‡āļˆāļēāļāļ‡āļēāļ™āļ—āļĩāđˆāļ—āļģāļāđˆāļ­āļ™āļŦāļ™āđ‰āļēāļ™āļĩāđ‰āđ„āļ”āđ‰āļœāđˆāļēāļ™āļāļēāļĢāļ„āđ‰āļ™āļ„āļ§āđ‰āļē āļ—āļ”āļĨāļ­āļ‡āđāļŠāļ§āļ‡āļŦāļēāđ€āļ—āļ„āļ™āļīāļ„āļ§āļīāļ˜āļĩāļāļēāļĢ āđ€āļ›āđ‡āļ™āļĢāļ°āļĒāļ°āđ€āļ§āļĨāļēāļŦāļĨāļēāļĒāļ›āļĩāļˆāļ™āļāļĢāļ°āļ—āļąāđˆāļ‡āđ€āļāļīāļ”āļ„āļ§āļēāļĄāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āđ€āļ›āđ‡āļ™āļĨāļģāļ”āļąāļš āļˆāļēāļāļ„āļ§āļēāļĄāļ™āļļāđˆāļĄāļ™āļ§āļĨāļ‚āļ­āļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāđāļĨāļ°āļ„āļ§āļēāļĄāļŠāļ‡āļšāđ„āļ›āļŠāļđāđˆāļ„āļ§āļēāļĄāļĄāļĩāļŠāļĩāļ§āļīāļ•āļŠāļĩāļ§āļē āļ„āļ§āļēāļĄāļŠāļ™āļļāļāļŠāļ™āļēāļ™āđāļĨāļ°āļāļēāļĢāđ€āļ„āļĨāļ·āđˆāļ­āļ™āđ„āļŦāļ§āļ—āļĩāđˆāđ€āļ›āļĩāđˆāļĒāļĄāđ„āļ›āļ”āđ‰āļ§āļĒāļžāļĨāļąāļ‡āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļ āļāļēāļĢāđƒāļŠāđ‰āļŠāļĩāļĢāļ§āļĄāļ—āļąāđ‰āļ‡āļĢāļđāļ›āļ—āļĢāļ‡āļĄāļĩāļ„āļ§āļēāļĄāļŠāļĨāļąāļšāļ‹āļąāļšāļ‹āđ‰āļ­āļ™ āļĄāļĩāļĄāļīāļ•āļīāļĨāļķāļāļ āļēāļĒāđƒāļ™āļ āļēāļžāđāļĨāļ°āļ āļēāļĒāđƒāļ™āļˆāļīāļ•āđƒāļˆāļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāļĄāļēāļāļĒāļīāđˆāļ‡āļ‚āļķāđ‰āļ™ āļ āļēāļžāđ€āļ‚āļĩāļĒāļ™āđƒāļ™āļĒāļļāļ„āļŦāļĨāļąāļ‡āļ™āļĩāđ‰ āļĄāļĩāļĨāļąāļāļĐāļ“āļ°āļ„āļĨāđ‰āļēāļĒāļœāļ·āļ™āļ™āđ‰āļģāļ—āļĩāđˆāļĄāļĩāļĢāļđāļ›āļ—āļĢāļ‡āļ™āļēāļĄāļ˜āļĢāļĢāļĄāļ„āļĨāđ‰āļēāļĒāļŠāļīāđˆāļ‡āļĄāļĩāļŠāļĩāļ§āļīāļ•āļŦāļĢāļ·āļ­āļšāļēāļ‡āļŠāļīāđˆāļ‡āļšāļēāļ‡āļ­āļĒāđˆāļēāļ‡āļĨāđˆāļ­āļ‡āļĨāļ­āļĒāļ­āļĒāļđāđˆāđƒāļ™āļ™āđ‰āļģāļœāļŠāļĄāļœāļŠāļēāļ™āļāļąāļšāļĢāļđāļ›āļ—āļĢāļ‡āđāļĨāļ°āđāļŠāļ‡āļŠāļ§āđˆāļēāļ‡āļ‚āļ­āļ‡āđ€āļ‡āļēāļŠāļ°āļ—āđ‰āļ­āļ™āļ‚āļ­āļ‡āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ­āļĒāļđāđˆāđ€āļšāļ·āđ‰āļ­āļ‡āļšāļ™āđ€āļŦāļ™āļ·āļ­āļĻāļĩāļĢāļĐāļ°āļ•āļĨāļ­āļ”āļˆāļ™āļāļēāļĢāđ€āļ„āļĨāļ·āđˆāļ­āļ™āđ„āļŦāļ§āļ‚āļ­āļ‡āļĢāļđāļ›āļ—āļĢāļ‡āđāļĨāļ°āđāļŠāļ‡āļāļĢāļ°āļ—āļšāļšāļ™āļœāļīāļ§āļ™āđ‰āļģ āļ—āļģāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāđāļĨāļ°āļˆāļīāļ™āļ•āļ™āļēāļāļēāļĢāđ„āļ”āđ‰āļ–āļķāļ‡āļāļēāļĢāļāļĢāļ°āđ€āļžāļ·āđˆāļ­āļĄāļ‚āļ­āļ‡āļ™āđ‰āļģāđāļĨāļ°āļĢāļ°āļĨāļ­āļāļ™āđ‰āļģāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļˆāļąāļ‡āļŦāļ§āļ° āļ āļēāļžāđ‚āļ”āļĒāļĢāļ§āļĄāļ—āļĩāđˆāļ›āļĢāļēāļāļāļĄāļĩāļĨāļąāļāļĐāļ“āļ°āļ„āļĨāđ‰āļēāļĒāļ āļēāļžāļĨāļ§āļ‡āļ•āļē āđ€āļ›āđ‡āļ™āļāļēāļĢāļĨāđ‰āļ­āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ āļēāļžāļ‚āļ­āļ‡āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ­āļĒāļđāđˆāđƒāļ™āļ™āđ‰āļģāđāļĨāļ°āļ āļēāļžāļŠāļ°āļ—āđ‰āļ­āļ™āļšāļ™āļœāļīāļ§āļ™āđ‰āļģāļ—āļĩāđˆāļšāļēāļ‡āđƒāļŠ āļĄāļĩāļ„āļ§āļēāļĄāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āļŠāļ§āļ™āđƒāļŦāđ‰āđāļŠāļ§āļ‡āļŦāļēāļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ‹āđˆāļ­āļ™āđ€āļĢāđ‰āļ™āļ­āļĒāļđāđˆāļ āļēāļĒāđƒāļ™āļ āļēāļž āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļīāļ™āļ—āļĩāđˆāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļœāļĨāļ‡āļēāļ™āļ­āļĒāđˆāļēāļ‡āļŠāļĄāđˆāļģāđ€āļŠāļĄāļ­ āļŠāļīāđˆāļ‡āļ—āļĩāđˆāđ€āļ‚āļēāļ„āđ‰āļ™āļžāļšāđƒāļ™āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļ„āļ·āļ­ “āļ„āļ§āļēāļĄāļŠāļļāļ‚” āļ‹āļķāđˆāļ‡āđ€āļ‚āļēāļ›āļĢāļēāļĢāļ–āļ™āļēāļˆāļ°āđƒāļŦāđ‰ “āļ„āļ§āļēāļĄāļŠāļļāļ‚” āļ‚āļ­āļ‡āđ€āļ‚āļēāļ—āļĩāđˆāđ„āļ”āđ‰āļĢāļąāļšāļˆāļēāļāļ˜āļĢāļĢāļĄāļŠāļēāļ•āļīāļ™āļąāđ‰āļ™āļŠāđˆāļ‡āļ•āđˆāļ­āđ„āļ›āļĒāļąāļ‡āļœāļđāđ‰āļŠāļĄāļ‡āļēāļ™āļˆāļīāļ•āļĢāļāļĢāļĢāļĄāļ‚āļ­āļ‡āđ€āļ‚āļēāļ—āļĩāđˆāđ€āļ•āđ‡āļĄāđ„āļ›āļ”āđ‰āļ§āļĒāļŠāļĩāļŠāļąāļ™ āļ„āļ§āļēāļĄāļĄāļĩāļŠāļĩāļ§āļīāļ•āļŠāļĩāļ§āļēāđāļĨāļ°āļŠāļļāļ™āļ—āļĢāļĩāļĒāļ āļēāļž āļāļēāļĢāđ€āļ”āļīāļ™āļ—āļēāļ‡āļ‚āļ­āļ‡āļ­āļąāļ„āļĢāđŒāļŠāļ™āļāđƒāļ™āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ„āļ‡āđ„āļĄāđˆāļĒāļļāļ•āļīāđ€āļžāļĩāļĒāļ‡āđāļ„āđˆāļ™āļĩāđ‰ āļœāļĨāļ‡āļēāļ™āđƒāļ™āļ­āļ™āļēāļ„āļ•āļˆāļ°āđ€āļ›āđ‡āļ™āđ€āļŠāđˆāļ™āđ„āļĢāļ™āļąāđ‰āļ™āđ€āļ›āđ‡āļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļ™āđˆāļēāļĻāļķāļāļĐāļēāđāļĨāļ°āļ„āļ§āļĢāļ„āđˆāļēāļ•āđˆāļ­āļāļēāļĢāļ•āļīāļ”āļ•āļēāļĄāļŠāļĄāļ•āđˆāļ­āđ„āļ›

āļŠāļĄāļžāļĢ āļĢāļ­āļ”āļšāļļāļ āļĄāļĩāļ™āļēāļ„āļĄ 2556

Page 6: Journey Behind the Scenes by Auxchanok  Chirakul

The Abstract Path of Auxchanok Chirakul

Page 7: Journey Behind the Scenes by Auxchanok  Chirakul

On the creative artistic path of Auxchanok Chirakul in the last two decades, it has become evident that the artist is continually inspired by nature, and that nature is his primary archetype. The artist has devoted his time to exploring and studying everything in the natural world and has developed a deep understanding of it. He reveals the substance of nature meaningfully. The colorful contours of life and natural beauty give him an inexplicable peace of mind that he communicates through the language of images. His paintings use color and the path of his paintbrush to magnificently express this inner life. Auxchanok has brought twelve works to exhibit in the show this time, including works that were produced in 2009, and works that he produced recently. The works in the first section of the show exhibit a development of his style from impressionism to chromatic abstraction, emphasizing the key essentials of color and spacing as primary. The colors that appear in the works of Auxchanok are unique. Some of the colors are derived from various elements of nature, while other colors convey emotions from within him during the period that he was painting the first set of works. The artist uses color and light to create an atmosphere in order to capture the changes that occur in natural things and his emotions in various circumstances. In the primary works, the forms are abstract, concealing the natural state and freeing the imagination. The atmosphere of the color in the pictures comes from smearing overlapping colors in a harmonious way in order to convey dimension and broad spaces and to create the feeling of concealed light under the colors. Auxchanok has remarkable insight and expertise in the use of color, enveloping tone and employing complementary colors in order to coordinate a harmonious relationship between the colors with unity and balance. You may not see the unique color combinations of Auxchanok in nature, but the colors that appear in his work are bright reflections of the world of emotions, impressions, memories and imagination within Auxchanok himself. The work that Auxchanok is currently producing has progressed to a new level. The colors themselves comprise the main content of the images. The silent peace in his previous works of art was an investigative experiment in the search for a new technique. It has taken many years for this transformation to take place, bringing him from a gentle, peaceful atmosphere to a more lively expression of fun and movement that is saturated with powerful emotion. The use of color included in the forms is intricate and conveys deep dimension in the pictures and in the spirit of Auxchanok himself. The paintings from this later period have aspects to them that are similar to an expanse of water. The abstract contours are like living things that are floating on the water. They interact with forms and bright light of reflected shadows of the things hovering above. The movement of the shapes and the bright light on the surface of the water invites us to experience the rhythmic undulation of the rippling waters in our imagination. The interplay between the things that are in the water and the images that are reflected on the surface of the water has an appealing quality of transparency. The complexity of the pictures invites us to search for what might be within them. Auxchanok is an artist who works consistently in his creative endeavors. He has discovered inner contentment and wants to share it with others. The contentment and delight he derives from nature, he passes on to all those who view his lively, bright, colorful paintings. Traveling with Auxchanok in his artistic journey will surely not end here. I look forward to following his progress and seeing what his next endeavors will bring.

Somporn Rodboon March 2013

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Circle of Beliefs, 2009

Oil on Canvas 150 x 150 cm.

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Golden Vision, 2009

Oil on Canvas 150 x 150 cm.

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Andaman, 2009

Oil on Canvas 130 x 150 cm.

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Golden Pine Trees, 2009

Oil on Canvas 130 x 150 cm.

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If Love Was a River, 2009

Oil on Canvas 130 x 150 cm.

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Page 18: Journey Behind the Scenes by Auxchanok  Chirakul

Still Loving You, 2009

Oil on Canvas 130 x 150 cm.

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Color of My Mind, 2009

Oil on Canvas 130 x 150 cm.

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Do You Hear Me? 2010

Oil on Linen 100 x 100 cm.

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Red Melody, 2010

Oil on Linen 100 x 100 cm.

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Eternity, 2010

Oil on Canvas 80 x 80 cm.

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Behind the Painting, 2013

Oil on Linen 150 x 150 cm.

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Mirror of Spring, 2013

Oil on Linen 90 x 90 cm.

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Page 32: Journey Behind the Scenes by Auxchanok  Chirakul

āļ›āļĢāļ°āļ§āļąāļ•āļī : āļ­āļąāļ„āļĢāļŠāļ™āļ āļŠāļīāļĢāļ°āļāļļāļĨ

Page 33: Journey Behind the Scenes by Auxchanok  Chirakul

āļ­āļąāļ„āļĢāđŒāļŠāļ™āļ āļŠāļīāļĢāļ°āļāļļāļĨ

āđ€āļāļīāļ” 8 āļĄāļāļĢāļēāļ„āļĄ 2515 āļ—āļĩāđˆ āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ

āļ—āļĩāđˆāļ­āļĒāļđāđˆāļ›āļąāļˆāļˆāļļāļšāļąāļ™ 133 / 257 āļ‹āļ­āļĒ 7 āļŦāļĄāļđāđˆāļšāđ‰āļēāļ™āļ—āļ§āļĩāđ‚āļŠāļ„ āļ•āļģāļšāļĨāļ•āļĨāļēāļ”āļ‚āļ§āļąāļ āļ­āļģāđ€āļ āļ­āļ”āļ­āļĒāļŠāļ°āđ€āļāđ‡āļ” āļˆāļąāļ‡āļŦāļ§āļąāļ”āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ 50220

āđ‚āļ—āļĢāļĻāļąāļžāļ—āđŒ 053 868 705, 081 287 5046

āļāļēāļĢāļĻāļķāļāļĐāļē

2533 āļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļŠāđˆāļēāļ‡āļĻāļīāļĨāļ›āđŒ

2538 āļĻāļīāļĨāļ›āļšāļąāļ“āļ‘āļīāļ• (āļˆāļīāļ•āļĢāļāļĢāļĢāļĄ) āļ„āļ“āļ°āļ§āļīāļˆāļīāļ•āļĢāļĻāļīāļĨāļ›āđŒ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2540 Australian National University, Australia

2551 HuÃĐ University, Vietnam

2553 āļĻāļīāļĨāļ›āļĄāļŦāļēāļšāļąāļ“āļ‘āļīāļ• (āļˆāļīāļ•āļĢāļāļĢāļĢāļĄ) āļ„āļ“āļ°āļ§āļīāļˆāļīāļ•āļĢāļĻāļīāļĨāļ›āđŒ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

āļĢāļēāļ‡āļ§āļąāļĨāļ—āļĩāđˆāđ€āļ„āļĒāđ„āļ”āđ‰āļĢāļąāļš

2523 āļĢāļēāļ‡āļ§āļąāļĨāļĒāļ­āļ”āđ€āļĒāļĩāđˆāļĒāļĄ āļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđ€āļžāļēāļ°āļŠāđˆāļēāļ‡

2524 āļĢāļēāļ‡āļ§āļąāļĨāļ—āļĩāđˆ 1 āļˆāļąāļ”āđ‚āļ”āļĒāļāļĢāļĄāļĻāļīāļĨāļ›āļēāļāļĢ āđ€āļ™āļ·āđˆāļ­āļ‡āđƒāļ™āļ§āļąāļ™āđ€āļ”āđ‡āļāđāļŦāđˆāļ‡āļŠāļēāļ•āļī

2523-24 āļœāļĨāļ‡āļēāļ™āļ—āļģāđ€āļ™āļĩāļĒāļšāđ€āļĒāļēāļ§āļŠāļ™āļ”āļĩāđ€āļ”āđˆāļ™ āļˆāļąāļ”āđ‚āļ”āļĒāļŠāļģāļ™āļąāļāļ‡āļēāļ™āļ„āļ“āļ°āļāļĢāļĢāļĄāļāļēāļĢāļŠāđˆāļ‡āđ€āļŠāļĢāļīāļĄāđāļĨāļ°āļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™āđ€āļĒāļēāļ§āļŠāļ™āđāļŦāđˆāļ‡āļŠāļēāļ•āļī āļŠāļģāļ™āļąāļāļ™āļēāļĒāļāļĢāļąāļāļĄāļ™āļ•āļĢāļĩ

2525 āļĢāļēāļ‡āļ§āļąāļĨāļ”āļĩāđ€āļ”āđˆāļ™ āļˆāļąāļ”āđ‚āļ”āļĒāļāļĢāļĄāļĻāļīāļĨāļ›āļēāļāļĢ āđ€āļ™āļ·āđˆāļ­āļ‡āđƒāļ™āļ§āļąāļ™āđ€āļ”āđ‡āļāđāļŦāđˆāļ‡āļŠāļēāļ•āļī

āļāļēāļĢāđāļŠāļ”āļ‡āļœāļĨāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ—āļĩāđˆāļŠāļģāļ„āļąāļ

2540 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļāļĢāļĢāļĄ āļ“ āļāļĢāļļāļ‡āđāļ„āļ™āđ€āļšāļ­āļĢāđŒāļĢāđˆāļē āļ›āļĢāļ°āđ€āļ—āļĻāļ­āļ­āļŠāđ€āļ•āļĢāđ€āļĨāļĩāļĒ

2543 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļāļĢāļĢāļĄāđ€āļ™āļ·āđˆāļ­āļ‡āđƒāļ™āļžāļīāļ˜āļĩāđ€āļ›āļīāļ”āļŦāļ­āļĻāļīāļĨāļ›āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2544 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļāļĢāļĢāļĄ āļ“ āļāļĢāļļāļ‡āđāļ„āļ™āđ€āļšāļ­āļĢāđŒāļĢāđˆāļē āļ›āļĢāļ°āđ€āļ—āļĻāļ­āļ­āļŠāđ€āļ•āļĢāđ€āļĨāļĩāļĒ

2547 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “āļŪāđ‰āļ­āļĒāđ€āļŠāđ‰āļ™ āļŪāļ­āļĄāļŠāļĩ āļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆ 1” āđāļāļĨāđ€āļĨāļ­āļĢāļĩ āļ›āļēāļ“āļīāļĻāļē āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2549 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “Particolored Palette” āđāļāļĨāđ€āļĨāļ­āļĢāļĩ āļ›āļēāļ“āļīāļĻāļē āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2551 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ āļ“ HuÃĐ University āđ€āļĄāļ·āļ­āļ‡āđ€āļ§āđ‰ āļ›āļĢāļ°āđ€āļ—āļĻāđ€āļ§āļĩāļĒāļ”āļ™āļēāļĄ

2551 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “āļ„āļ™āļĨāļ°āđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļ”āļĩāļĒāļ§āļāļąāļ™â€ āļ“ āļŦāļ­āļĻāļīāļĨāļ›āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2551 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “The Trio” Art Republic Gallery āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ

2552 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄāđ€āļ”āļĩāđˆāļĒāļ§ “Abstract Reality” āđāļāļĨāđ€āļĨāļ­āļĢāļĩ āļ›āļēāļ“āļīāļĻāļē āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2552 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “Chiang Mai : Diverse Vision” āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ

2554 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄāđ€āļ”āļĩāđˆāļĒāļ§ “Affection for Reflection” āđāļāļĨāđ€āļĨāļ­āļĢāļĩ āļ›āļēāļ“āļīāļĻāļē āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

2554 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “The 5th Exhibition of New Expression of Asian Art” āļ“ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āļŠāļ–āļēāļ™āđāļŦāđˆāļ‡āļŠāļēāļ•āļī āļŦāļ­āļĻāļīāļĨāļ› āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ

2554 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļāļĢāļĢāļĄ “āļĻāļīāļĨāļ›āļ°āđāļŦāđˆāļ‡āļĻāļĢāļąāļ—āļ˜āļē : āļĨāđ‰āļēāļ™āļ™āļē-āļŠāļīāļšāļŠāļ­āļ‡āļ›āļąāļ™āļ™āļē” āļ“ āļŠāļģāļ™āļąāļāļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļĢāļēāļŠāļ āļąāļ āđ€āļŠāļĩāļĒāļ‡āļĢāļēāļĒ

2554 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļĻāļīāļĨāļ›āļāļĢāļĢāļĄ “āđ€āļŠāļĩāļĒāļ‡āļĢāļēāļĒāđ€āļĄāļ·āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™ āļ‰āļĨāļ­āļ‡ 750 āļ›āļĩ āđ€āļĄāļ·āļ­āļ‡āđ€āļŠāļĩāļĒāļ‡āļĢāļēāļĒ” āļ“ āļĻāļēāļĨāļēāļāļĨāļēāļ‡āļˆāļąāļ‡āļŦāļ§āļąāļ”āđ€āļŠāļĩāļĒāļ‡āļĢāļēāļĒ

2555 āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļˆāļīāļ•āļĢāļāļĢāļĢāļĄ “55 āļ„āļ™ 55 āļĻāļĢāļąāļ—āļ˜āļē” āđāļāļĨāđ€āļĨāļ­āļĢāļĩ āļ›āļēāļ“āļīāļĻāļē āđ€āļŠāļĩāļĒāļ‡āđƒāļŦāļĄāđˆ

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Biodata : Auxchanok Chirakul

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Auxchanok Chirakul Born 8th January 1972, Bangkok Address 133 / 257 Soi 7, M. Taweechoke, T. Talad Kwan, Doi Saket, Chiang Mai 50220 Phone +66-81-287 5046, +66-53-868 705 Education

1990 College of Fine Arts, Bangkok, Thailand 1995 Faculty of Fine Arts, Chiang Mai University, Thailand (B.F.A.) 1997 Australian National University, Australia 2008 HuÃĐ University, Vietnam 2010 Faculty of Fine Arts, Chiang Mai University, Thailand (M.F.A.) Awards

1980 Art Award with Distinction, Poh Chang College of Arts and Crafts 1980-81 Outstanding Achievement Award from “National Youth Bureau”, Office of the Prime Minister 1981 First Prize on Art Competition for Children on the “National Children’s Day” organized by the Fine Arts Department, Ministry of Education 1982 Excellent Award on Art Competition for Children on the “National Children’s Day” organized by the Fine Arts Department, Ministry of Education Selected Exhibitions

1997 Art Exhibition at Australian National University, Canberra, Australia 2000 Art Exhibition on the occasion of the opening of Chiang Mai University Art Museum 2001 Art Exhibition at Australian National University, Canberra, Australia 2004 Art Exhibition “Intertwining Lives I”, Galerie Panisa, Chiang Mai 2006 Art Exhibition “Particolored Palette”, Galerie Panisa, Chiang Mai 2006 Art Exhibition “Art 2006”, Siam Commercial Bank Head Office, Bangkok 2008 Art Exhibition at HuÃĐ University, HuÃĐ, Vietnam 2008 Art Exhibition “Same But Different”, Chiang Mai University Art Museum 2008 Art Exhibition “The Trio”, Art Republic Gallery, Bangkok 2009 Solo Exhibition “Abstract Reality”, Galerie Panisa, Chiang Mai 2009 Art Exhibition “Chiang Mai : Diverse Vision”, Chulalongkorn University, Bangkok 2011 Solo Exhibition “Affection for Reflection”, Galerie Panisa, Chiang Mai 2011 Art Exhibition “The 5th Exhibition of New Expression of Asian Art”, The National Gallery, Bangkok, Thailand 2011 Art Exhibition “Art of Faith : Lanna-Sibsongpunna”, Cultural Center Chiangrai Rajabhat University, Chiang Rai 2011 Art Exhibition “The 750th Year Anniversary of Chiang Rai: The City of Artists”, City Hall, Chiang Rai 2012 Art Exhibition “55 Artists 55 Faiths”, Galerie Panisa, Chiang Mai

Page 36: Journey Behind the Scenes by Auxchanok  Chirakul

āļ‚āļ­āļ‚āļ­āļšāļ„āļļāļ“

Page 37: Journey Behind the Scenes by Auxchanok  Chirakul

āļœāļĻ. āļŠāļĄāļžāļĢ āļĢāļ­āļ”āļšāļļāļ

āļĢāļĻ. āđ€āļāļĻ āļŠāļ§āļ™āļ°āļĨāļīāļ‚āļīāļāļĢ

āļ­āļēāļˆāļēāļĢāļĒāđŒ āļˆāļĢāļđāļ āļšāļļāļāļŠāļ§āļ™

āļ„āļļāļ“ āļĻāļļāļ āđ‚āļŠāļ„ āļ­āļąāļ‡āļ„āļŠāļļāļ§āļĢāļĢāļ“āļĻāļīāļĢāļī

āļ”āļĢ. āļŠāļļāļŠāļēāļ•āļī āļ§āļ‡āļĐāđŒāļ—āļ­āļ‡

āļ­āļēāļˆāļēāļĢāļĒāđŒ āļžāļąāļ™āļŠāļĩ āļĻāļĢāļĩāļŠāļļāļ āļē

āļ„āļļāļ“ āļŠāļļāļ—āļ˜āļīāļžāļ‡āļĻāđŒ āļˆāļīāļ™āļ”āļēāļĻāļīāļĨāļ›āđŒ

āļ„āļļāļ“ āļĻāļīāļĢāļīāļ™āļąāļ™āļ—āđŒ āļˆāļīāļ™āļ”āļēāļĻāļīāļĨāļ›āđŒ

Ms. Kit Ripley

āļ„āļļāļ“ āļŠāļĄāļĨāļīāļ• āđ€āļ—āļ§āļēāļĢāļļāļ—āļ˜āļīāđŒ

āļ„āļļāļ“ āļžāļąāļŠāļĢāļēāļ āļĢāļ“āđŒ āđ€āļ—āļ§āļēāļĢāļļāļ—āļ˜āļīāđŒ

āļ„āļļāļ“ āļ āļēāļ™āļļ āļŠāļļāļĄāđ€āļāļĐāļĩāļĒāļ™

āļ„āļļāļ“ āļžāļ‡āļĐāđŒāļ˜āļĢāļĢāļĄ āđ€āļžāļŠāļĢāļ§āļĢāļĢāļ“

āļœāļĻ. āļĻāļĢāļĩāđƒāļˆ āļāļąāļ™āļ—āļ°āļ§āļąāļ‡

āļœāļĻ. āļĨāļīāļ›āļīāļāļĢ āļĄāļēāđāļāđ‰āļ§

āļ­āļēāļˆāļēāļĢāļĒāđŒ āļŠāļąāļĒāļ§āļąāļ’āļ™āđŒ āļ„āļģāļāļąāļ™

āļ„āļļāļ“ āļžāļĢāļŠāļąāļĒ āđƒāļˆāļĄāļē

āļ„āļļāļ“ āđ€āļŠāļĢāļīāļĄ āļ§āļąāļŠāļĢāļīāļ™āļ—āļĢāđŒ

āļ„āļļāļ“ āļŠāļļāļ˜āļĩ āđ€āļ­āļ·āđ‰āļ­āļĻāļīāļĢāļīāļžāļĢāļĪāļ—āļ˜āļīāđŒ

āļ„āļļāļ“ āļ­āļļāļāļĪāļĐāļŽāđŒ āļ§āļ‡āļĻāđŒāļŠāļąāļĄāļžāļąāļ™āļ˜āđŒ

āļ™āļīāļ•āļĒāļŠāļēāļĢ Fine Art

āđāļāļĨāđ€āļĨāļ­āļĢāļĩāļ›āļēāļ“āļīāļĻāļē āđāļĨāļ° āļ—āļĩāļĄāļ‡āļēāļ™āļ—āļļāļāļ—āđˆāļēāļ™

āļ”.āļŠ. āļĄāļŦāļąāļĻāļˆāļĢāļĢāļĒāđŒ āļŠāļīāļĢāļ°āļāļļāļĨ āđāļĨāļ°āļ„āļĢāļ­āļšāļ„āļĢāļąāļ§

āļšāļļāļ„āļĨāļēāļāļĢāļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āļŠāļ–āļēāļ™āđāļŦāđˆāļ‡āļŠāļēāļ•āļī āļŦāļ­āļĻāļīāļĨāļ›

Photo & Catalogue by FLUKE Graphic & Designt: 0804969946 e: f [email protected]

Page 38: Journey Behind the Scenes by Auxchanok  Chirakul

Journey Behind the Scenes

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