Somsak Sansukjareonpol spent a large part of his younger years keeping his own company, reading Thai and Japanese comic books and practicing his drawing by copying the artwork found in them. Realising he had a creative talent, Somsak began wanting to draw like these comic artists. Throughout his school life, his thoughts always turned to art and drawing, rather than his studies and teachers’ lectures. Through his passion for his hobby, Somsak decided that after finishing high school, he would attend art school and learn more about artistic technique and history. Somsak entered the College of Fine Arts where he studied art theoretically and methodically for the first time. After graduating from the college, Somsak enrolled himself in the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University, and received his Bachelor Degree in 1988. After university there followed a spell working for an advertising agency – yet Somsak found this dull and unfulfilling; he wanted to create art for the sake of art, not business. So he took a big step, quit his job, and moved to the United Kingdom to study abroad. At first, Somsak wanted to study Fine Arts, the same degree as his Bachelor’s; but after realising that the role of the compute was becoming more prominent in the art world, he became curious as to whether or not he could implement some of the graphical techniques that were now possible. It led Somsak to enroll himself in Computer Art at Middlesex University. After another short spell working for a commercial business, he finally turned his back on that industry totally – soon after he was freelancing for a number of years, before finally finding himself in the two things that he loves the most: drawing and reading. As of now, he draws and writes each and every day.

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Could you please introduce yourself?

My name is Somsak Sansukjareonpol, I am an independent artist. I graduated from Faculty of Painting, Sculpture, and Graphic Arts, SIlpakorn University. I did my Master’s degree in Computer Art from Middlesex University, London.

What is the inspiration behind your artwork ‘Infinity’?

My inspiration for this painting came to me since the time I was briefed with the concept of this project by its consultant. The consultant said that the exhibition space is a public space and they wanted to have an abstract artwork displayed there. He wanted an artwork that has non-specific shape, painted with mellow colours. Personally, I like the works of Mark Rothko, an American artist. His works are focused on the shades of colours, no specific shape at all, and are abstract art. Because the space I was assigned to create artwork is a small one, in front of a lift that people frequently walk past, thus, the artwork that the hotel requested had to be a narrow and lengthy one. As I already wanted to create a work that related to Buddhism I noticed that the lift is usually open to show an empty space which led me to the idea ‘emptiness’ in Buddhism that also reflects Thainess. I wanted to convey that everything is meaningless. Everything will disintegrate, dissolve, crumble or decompose into nothing. Things are born and then they die. Finally, there’s only emptiness which has no shape and no soul. At the end of everything, there’s non-self and non-ego in it.

Why did you choose to use the shades of yellow, red and black in your artwork?

I thought that the atmosphere in the hotel is dark like nighttime. Additionally, the hotel does not stress on the cheerfulness but, instead, it’s warmth that is expressed. That’s why I chose warm colours to accentuate the atmosphere. Sometimes art needs mysteriousness and when you’re thinking about emptiness, mystery and night-time, you’re thinking of the opposite of day time which means light and brightness. Day time is when you go out and meet people. It’s the brighter side of your life, you see light and other things. But at night you spend the time with yourself and we can easily find emptiness during this time because you’re not going out to meet and talk to people. You leave your work and all activities behind you during this time. When you sleep at night, you will enter emptiness in your mind. When there are no images and no dreams, I think that’s the real emptiness.

Can the audiences feel the emptiness from your artwork?

Normally, when the audiences see an artwork that has certain image and shape they will connect the image with thoughts and ideas that relate to the image or shape. So, the shape is providing a frame of thought for the audiences. But, for the abstract artworks, the audiences are free to think of anything as there’s no shape to frame their mind. The colours are the indicators of the feeling. The audiences have to guess the intention of the artists for using such colours. As there’s no shape, the audiences are left to think by themselves.

Do you usually create works like this?

I produced some abstract artworks when I was at university but actually when I was finding my own style, there were so many kinds of works for me to try. I had to ask myself what style I wanted to do. Is it traditional art or abstract art? For me, it’s every style that’s art. But if you ask me if I usually create abstract art I would say that I’m not always creating it. Mostly, it’s for experimenting.

What is your opinion about abstract art?

It reflects certain feeling. It’s good in its own way as the artist might not want to directly express his/her thoughts or might not want to create realistic images. They might not feel comfortable drawing something serious or stressful; instead, they might just want to express their feelings. Usually, abstract artworks are more of a way to express the feeling than to convey certain concept. Abstract artworks usually depend on the artists. I haven’t done it much.

What do you think about the Siam Kempinski Bangkok hotel online art gallery project, promoting Thai artists and their works to the world?

I’m totally in agreement with it. Firstly, artworks that are exhibited in public buildings like this hotel are partly inaccessible to people. Mainly, the audiences are the visitors of the hotel. For the hotel to publicise it, it’s good for the art lovers. As I said, people normally have to check-in to the hotel to see the works in it but this project allows them to see and learn about artworks without having to visit the hotel.

What are the challenges in your career, especially in Thailand?

I think that artists from any country all face the same problems. It’s not easy to be an artist because art is not a necessity in life. You can describe art as a luxury. To put it bluntly, it’s a toy of a rich man. It’s only of interest to a small group of people. The challenge is to stand firm in your chosen path. In whatever country, to be accepted and able to live as an artist, you need to be patient and it requires a lot of effort. Art isn’t a necessity and exists only by relying on the small group of art collectors who spend money. For example, Silpakorn University used to produce about 30 graduates every year and most of them became a lecturer or a freelance artist that’s also difficult to provide for their life. Some take more than 10 years to succeed. By success, I mean to be able to provide for themselves; to be famous and to be accepted. It takes years and years of patience to achieve. An artist must be patient and keep fighting. We need to be patient and believe in what we do. Truthfully, when I had just graduated, I would not directly become an artist because I didn’t want to depend on my parents anymore. I wanted to live by myself, although becoming a lecturer was very difficult in the past. Every year there were not many people who achieved it. I used to be a tutor after I graduated for a few years. I finished my Master’s degree in the UK and my major was Digital Art. I was one of the first generations that studied Computer Art so when I graduated there was a job ready for me to take. Living like that is easier than being an artist.

What was the turning point for you to become an artist?

Artists are lucky. They know what they like and love. The loves and likes are always there and do not disappear - even though there’s an obstacle in your path. When you turn to do something else for 20-30 years, your heart will eventually want to turn back to what you love. It will tell you that what you do well is drawing out your mind. Other careers have rules. They’re not like making true art that can satisfy your heart. Instead, it’s working to satisfy the customers. When you work like that for more than 20 years, you would be puzzled about what have you been doing and you will be content with the money you’ve earned. With the same amount of time, those who became lecturers or artists and patiently work might have already reached the same position as me today. There’s not much to do in the meantime except to be patient. I might not be that rich but I’ve been able to follow my heart in painting images.

What do you think about today’s art circle in Thailand?

It’s better than what it used to be in the past. I think Thai people understand art better now. There are more Thai artists that have been exhibiting their works in countries such as Singapore, Hong Kong and at the Venice Biennale. Everything has come so far because westerners don’t think that they’re always better than others. The Western art circle is looking for new or exotic works. They’re used to looking at the art from their own countries and, now, they’re looking for the artists from Asia, Africa and South America because they want to know how we create works. When the curators from the Western art circles came to Thailand, they came to all the art institutes such as Chulalongkorn University, Silpakorn University and Chiang Mai University to see what the artists were doing and what exhibitions were showing. If they find the artist or artwork that they like, they will invite the artist to have his/her work shown in the curator’s country. In the past, it’s difficult to get the chance to exhibit in a foreign country. You have to find the opportunity yourself by sending the works to such an exhibition and have the exhibition organisers consider your works in order to be on show.

What would you say about this in which it seems like art collectors do not collect Thai artists’ works as their first choice?

I don’t totally agree with this matter. It’s all about the taste of the art collectors. One of my seniors lives in Singapore and creates Thai artworks there. If you ask me if there is a problem of being Thai and making works for Singapore’s museum, art galleries and individual art collectors I can tell you that art collectors do collect his works. The problem doesn’t come from the nationality, it’s from the style of the works and the taste of the collectors. The artworks will be able to sell because of what they are. It’s not related to the country or nationality. It doesn’t mean that you’re Thai and, then, your works won’t sell or art collectors won’t buy them. The good artworks that Chinese artists create are very popular in an auction. So, it isn’t about nationality. Today, this world becomes smaller and communication is a hundredfold faster than in the past. It’s easy for the audiences to see the artworks now and I think the restriction of nationality has become a thing of the past.

Do you think artists should to accommodate their habits in line with global trends?

The artists shouldn’t consider themselves as the centre of the universe. Instead they have to accept that they are revolving around the world. They also have to know that the world has been developed this far and communications through Facebook, Instagram and any other website are the channels for publishing your works to the world. With audiences of many hundreds and thousands your chance of success becomes greater. Nowadays you can access the internet wherever you are and you can display your works. The chance to sell your works is right there. You must not limit your chances by being disinterested in technology and the internet.

Would you like to pass something to the younger generation of artists?

I think that, in every generation of artists, there’s a gap between the thoughts. The older artists might have one idea but a younger artist might have another idea. But the younger ones might be too rash and think that they can be success in a short time. I’ve said from the start that being an artist takes time to succeed. The art collectors are not only looking at the quality but they’re also looking at the experiences of the artists. They won’t just buy the work that they think it is interesting. If they are truly art collectors, they will look at the experiences and the potential of the artists as well. They look at the determination of the artists. When the art collectors buy artworks they wish that the artists will always create artworks and that their works will continue to improve. For example, works of Thawan Duchanee are always a great buy because the art collectors see his potential. At first, the collector saw that his work was good and that he’d worked for a while which led the art collector decide to buy his work. As time passed, his works became more and more valuable because he had become a professional artist. The art collectors realised that Thawan was a serious artist who had continuously created works. That’s why younger artists should be patient. Like myself, I haven’t worked as an artist for that long and sometimes I have to patiently paint in a new style, even though I’m already old. I know that it will take time but you have to be honest with yourself. Do not copy the work of others. Be yourself and use your own ideas to create your artworks continuously. Then, eventually, you’ll be successful.

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Interview by Art Consulting Asia

Siam Kempinski Hotel Bangkok, August 2017