Thavorn Koudomvit embraces the creative world as an artist, curator, teacher and art evangelist.
In the past, artists who did not pay heed to money thought of people in the gallery business as villains. However, being an art teacher at an art university gives me credibility. I gained trust from the beginning, and worked with proper systems and standards that have helped artists. It has worked both ways since most of the time we already know each other as friends, even before I invite them to exhibit at my gallery. Some of the relationships have evolved from acquaintances to friends, brothers or sisters.
Featured image: Ripe Project Village and Harvest Time, courtesy of Sakarin Krue-On.
How did your journey with art begin?
When I was a child, I saw my elder sister draw a picture and I thought that was such an incredible talent. The picture my sister drew brought my attention to art and influenced me back then as a child who did not understand art but could still feel it with his heart.
How do you describe yourself in the context of challenging people’s perspectives via your work?
I see myself as a connection between works of art and the audience. I have never intended to challenge anybody’s perspectives. I only present my art and send out messages to the viewers so that they can feel and analyse the things that they see on their own.
Regarding my curatorial job, I already have in mind what I would like to narrate in an exhibition, which also reflects through the works I have selected. It involves brainstorming between the artists and I. My work is done once the exhibition opens. I only introduce new perspectives, like an opening box inviting people to take a look inside.
Wood engraving demonstration.
What does your role at ARDEL Gallery of Modern Art involve? How does a multi–hyphenate like you balance the contradicting elements of your work?
My role is to search for art pieces that are interesting, works that could be developed and promoted to a larger audience, and values that have not yet been appreciated in my society. Besides the curator job, I am the owner of the gallery, an art instructor, and an artist. With all the hats I am wearing, I have to find a balance that will not affect my business. That is why in one year there will be a variety of artworks by emerging artists as I would like to support them so that they can grow in this career while introducing them to art collectors, and exhibitions by renowned artists whose proceeds from sales will be used to subsidise the activities of these budding artists, due to the lack of an art market.
Tell us about your curatorial philosophy. How does it all come together?
As I have mentioned, part of the financial supports for each exhibition comes from selling artworks. I am fortunate that my gallery has very good business partners who also love art. They are constant advocates who help sustain the gallery. My main duty, therefore, is to source the artists, discuss their ideas and concepts, and design the exhibition. If the artwork in an exhibition has a thorough process of creation, I organise an activity that will pass on the special knowledge. I have been here for 14 years, so I know every inch of the gallery and it is not difficult to manage any show.
Shadow Play by Chusak Srikwan.
Let’s talk about your frameworks, references and process. What inspires you?
The value of art is what concerns me the most. It might be normal for the people outside Thailand to realise and appreciate art as it should be, but the audience and collectors here still need to be educated. For example, the reason why ARDEL Gallery has been organising printmaking exhibitions is that print works are considered less superior than paintings in Thailand. The majority of art collectors believe that collecting artwork that’s one of a kind is the way to go. I would like to change such mindsets so they can truly appreciate the art of printmaking. I have selected fresh and interesting prints from young Thai artists, invited world-renowned printmakers from Canada, Taipei, and Japan. I have arranged art demonstrations and workshops for each technique, so that the audience gets to interact and learn the process of creation. Firsthand experience will help them relish it more. There are no fixed patterns in exhibition designing and improvisation is important for different exhibitions.
Ripe Project Village and Harvest Time, courtesy of Sakarin Krue-On.
Let’s talk about your long–term vision. Would it be safe to say that ARDEL Gallery is the first step towards manifesting this vision?
ARDEL allows me to create a balance between sentimental value and business value in the art industry, which I have always been attempting to achieve. The artistic value will always be my priority. When I invited Lampu Kansanoh and Anchalee Arayapongpanich to exhibit at ARDEL, they were still unknown among art collectors. However, as an art teacher who also taught them, I had always seen their potential. They only lacked storytelling or a proper presentation, something that has been a problem for Thai artists for so long since they have been taught to create art for art’s sake, to struggle like Vincent Van Gogh. Although they are efficient at creating valuable artworks, they cannot generate value for their art. I would like collectors to be aware of this, understand the idea, and voluntarily include such artworks in their collection. Because once an artist sells, it will encourage her or him to work more and the art society will survive.
Renoir’s Ball at the Moulin de la Galette and the Thai villa, courtesy of Araya Rasdjarmrearnsook.
How do you resolve the conflict between the commercial and the creative? Do you handle the commercials yourself or is it outsourced to agents?
I do not use any agents. When I want to create something, I create another thing to support that. For example, to financially contribute to the art gallery, I started an art school for kids, leather products, and an art theme resort. These things support one another and we can still live on if any of them has to close down.
How does your interaction with an artist evolve?
In the past, artists who did not pay heed to money thought of people in the gallery business as villains. However, being an art teacher at an art university gives me credibility. I gained trust from the beginning, and worked with proper systems and standards that have helped artists. It has worked both ways since most of the time we already know each other as friends, even before I invite them to exhibit at my gallery. Some of the relationships have evolved from acquaintances to friends, brothers or sisters. It is a healthy relationship that requires honesty and reliable standards of work.
p(L)ay attention, VDO art By Pasut Kranrattanasuit.
Let’s get imaginative. What is there a crying need for? What kind of a service or product would elevate the art industry?
As I stated, educating people in society is important. Organising workshops for art students gives them hands-on experience. This dimension would help strengthen the industry. These non-profit activities will elevate the art society, more than just focussing on expanding the market.
Which shows, performances and experiences have shaped your own creative process? Who are your maestros? Whose journey would you want to read about?
It is difficult to pinpoint specific events or persons who have made me who I am today. The first person that influenced me a lot on me is my mother. She is the master of diligence, the indomitable one, and the one who practices sustainability. That is why I have established many businesses to support one another, by following her principles. Besides, many art teachers such as Prof. Chalood Nimsamer and Prof. Pishnu Supanimit are my role models in terms of work ethic and mental development. They have taught me to be compassionate and supportive of others. J. Krishnamurti is also a philosopher that I like. I admire his unconventional perspectives and out-of-the-box thinking. Learning from the experiences of others will be beneficial when we combine them with our experiences and able to develop it into our own.
Lampu Kansanoh’s exhibition.
Tell us about your own personal evolution. What have you observed in the changing cultural landscape over time?
During the past three to four years, the online world has moved so fast that many cultures have changed and I am doubtful whether art galleries or museums are still relevant. Have art exhibitions become check-in places or backdrops for selfies? In a sense, it may be superficial nonsense. But, to my mind, it is somewhat advantageous as in the past there were very few art galleries in Thailand and visiting an art gallery or even the art itself was still a far-fetched idea for those who did not study art. Such thoughts have hindered some people from experiencing new knowledge. However, when more galleries emerge and open for visitors, it will be an invitation for people to enter the space without feeling awkward or embarrassed, even though they are there just to check-in or take a photo for their social media platform. It, unintentionally, puts an audience in an artistic atmosphere, which they will gradually absorb and become familiar with. Who knows among the ten visitors, we may find one or two who truly appreciate art.
Images courtesy of ARDEL Gallery.
How do the market and the audience interact and react to your work?
When I arranged an exhibition by Sakarin Krue-On it included a real rice field at the gallery. It was quite an exciting event as the location of the gallery is on the outskirts of Bangkok. Many people in the area had not yet been introduced to contemporary art. Therefore, we gained a lot of attention, especially from young students who also participated in harvesting the rice. Meanwhile, the video art by Araya Rasdjarmrearnsook was also well-received by the media.
Once such events, people who have never studied art and only perceive it as a picture in a frame on the wall, will discover other types of art with which they can interact.
Chalood Nimsamer’s exhibition.
What are you working on now? What should we look forward to?
What I would like to do for sure in the future is build the Print Museum in Thailand. As I have mentioned earlier, printmaking has not gotten enough recognition here, especially in provinces where very few good galleries exist. People still do not have a place to hang out or quality art to enjoy compared to Bangkok or Chiang Mai. I, therefore, would like to build a museum so that they can appreciate art within their neighbourhood. I would like to make Nakhon Ratchasima province an art space, which is fairly challenging in the context of Thai society.
For enquiries contact: ardelgallery@gmail.com
Before you go – you might like to browse the Asian Curator curatorial archives . Contemporary art curators and international gallerists define their curatorial policies and share stories and insights about the inner runnings of the contemporary art world.