Artist Natee Utarit has dazzled art connoisseurs with works questioning the nature of images, in particular photographs, through the medium of painting. His refined technique hinges upon a modern reworking of the European classical style, giving it a ravishing new relevance.
Artist Natee Utarit with part of his collection showcased in Singapore recently. photo courtesy of Richard Koh Fine Art
Last week his solo exhibition "Optimism Is Ridiculous: The Altarpieces" opened at the Private Museum in Singapore. The event, which runs till March 11, is in conjunction with Singapore Art Week 2018.
In the past five years, Natee's works from the series have travelled to Korea, Singapore, Malaysia, Germany, Switzerland and Bangkok. The painter's work has also appeared in major galleries and art venues around the world, from the 2013 Asian Art Biennial in Taiwan and the Museum of Contemporary Art in Helsinki, to the 2011 Venice Biennale, outside the government-sanctioned Thai pavilion. His works have also been a part of renowned collections showcased in top venues such as Queensland Art Gallery and Gallery of Modern Art, Brisbane, Australia, and the Singapore Art Museum, in addition to private collections in Europe and Asia.
Featured at the Private Museum in Singapore is a selection of seven of 12 artworks from the Altarpieces series. They are paintings in multiple panels forming a diptych and triptych, following the tradition of classical religious paintings with elaborate frames and settings.
"I believe I have an understanding of painting, particularly in the tradition of classical Western art. My interest lies in assimilating my cultural roots with my work, which covers a myriad of themes," said Natee.
His paintings, to the untrained eye, may look like those solemn Renaissance pieces hung in European museums. Natee explained that he has an interest in how Asian artists try to emulate a European craft, an after-effect of colonialism.
"I believe that most of us Asians have this colonised mindset. It's very deep-rooted, and we can't seem to get rid of it. I want to connect such thoughts through European classical works on which Asians put such high value. To do that in an altarpiece format is intentional. [The late Thai studies scholar] Michael Wright said we can't understand Western cultures if we don't understand Christianity, and I agree with that."
The 47-year-old artist, who's respected at home but seems to be more well-known abroad, graduated from Bangkok's College of Fine Art in 1987 and Silpakorn University with a degree in graphic arts in 1991. His experience in both the Thai and international art scenes over the past 25 years has given him a mixture of hope and despair.
"One of the main factors impeding Thai artists from taking their work to the next level is still the negative mindset people have towards the industry, coupled with the fact that the Thai art scene can do with more professionalism," said Natee.
"Some people might not be able to fathom how art can be used in other fields of career opportunities, such as graphic and interior design. This could probably stem from the myth that artists cannot become successful in business.
"It is also a romanticised misconception among many that artists gain success only after they die."
Natee's experience of collaborating in exhibitions abroad has taught him much about teamwork and professionalism. There are multiple components involved in putting on an art event, he said, which calls for the involvement of people with different skills.
What he has found is that it is not global practice for an artist to hang his work in the art gallery and wait for it to sell.
Natee, who grew up in Thailand's 90s art scene, describes it as a time when only the fittest survived. "Back then, a career artist was just not heard of," he joked.
Today artists have it much easier in that sense because there is greater acceptance. His biggest fear for this generation is that money might overcome its collective better judgement when it comes to keeping alive cultural traditions through their art.
Natee says that he was among the lucky few who began his career with an agent, who helped his work receive wider exposure than he could have gotten doing it on his own.
"Back in the 90s, it was frowned upon to have to pay a commission to get your work noticed," he said. "However, for me it was different. I desired to focus on my work, and so opted to take the standard route artists took across the board internationally by having someone represent me despite others' reservations.
"Looking back, I do believe I made the right decision, which today has helped me to become a part of the art scene in countries where my work has been displayed."
Speaking about his work as a visual artist, he said: "I believe the uniqueness of my paintings is in my fresh perspective on issues I tackle on canvas, which could include basically anything."
Reaching this far has not been without its difficulties, as the veteran explained: "It has definitely been a roller-coaster ride, but one that has built my character. If I were to share my take on this profession, I would say it's been exciting and educational. Even during my low moments, I never gave up, because I knew determination and perseverance always pay off in the end."
