On stories written in petals
By Alana Malika

Portrait of Naraphat Sakarthornsap. Image courtesy of the artist.

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Thai artist Naraphat Sakarthornsap here.

Could you talk about your background as an artist? How did you begin using flowers as the main subject of your art?
I was born in a quite well-off family before my father was suddenly fired from his job when I was 15. This was a deeply scarring turning point for my family because since then we have lacked stable income to support us. However, I felt lucky for the times before my father lost his job because we were such a warm and loving family. I had the chance to travel to many places, and many photo albums which had pictures of me smelling flowers everywhere I went. My mother was surprised that I was able to remember their names, colors and scents so vividly. I have many happy memories of my childhood and I associate them with the scent of certain flowers. I still remember watching the Sailor Moon anime, trying on my aunt’s red high heels and using a towel as a wig. When I was a child, people did not find anything wrong in what I did. I look back to my childhood to learn true things about myself, from the love I have for flowers and realising my own sexuality.

Naraphat Sakarthornsap, ‘Gushing out my confession’, 2015, photography. Image courtesy of the artist.

Could you share how you have maintained your practice after graduation? What are the important factors that kept you going?

I must confess that ever since I graduated, I did not think I would have the chance to pursue my art. The turning point in my career was when I started working a full-time job. I kept the fact that I am gay to myself only. I felt tormented when somebody asked if I was gay or not and I had to lie and say I was not. I was afraid that if I told people the truth, they would stop being friends with me or mock me. That is why I kept it as a secret to my fellow colleagues at the office. Once, I decided to come out to a colleague of mine because I did not want to hide it anymore. Could you imagine what happened the next morning? That person, whom I trusted enough to confide in, spread my secret and gossiped with the whole office about it. I was devastated beyond repair. The only healing I could find for my heart was through my collection of works, which was how ‘Gushing Out My Confession’ (2015) was created. That was when I returned to making art again, two years after my graduation.

Naraphat Sakarthornsap, ‘Behind the barbed wire’, 2015, photography. Image courtesy of the artist.

How did the opportunity for your first solo show, ‘Always’ at Soul Space Art Gallery, Bangkok come about?This exhibition was part of my undergraduate thesis. I was lucky to have an advisor whose relative owns a small yoga studio in Bangkok so my advisor offered to set the exhibition there. The small gallery was full of my friends from my childhood, and from my college days. It was filled with warmth and happiness, unlike exhibitions since then where I would feel stressed about being unable to sell my work or if only a few are sold. I would feel guilty towards the gallery that put up my works for me.

“Flowers are the only thing that I feel deeply connected with in my emotions and memories. Through flowers, I have learned about my own gender identity. I have been able to heal my past traumas in part through the art I create with these beautiful flowers as the narrator.”

In your work, flowers symbolise important aspects of your identity like sexual fluidity and freedom. How have you used flowers as a mode of personal storytelling?
As I mentioned earlier, my childhood was the time when I felt most liberated. I could be myself and no one would try to contain or limit me because it was the age of pure innocence. I used to decorate my hair with some flowers to walk around the house. No one questioned anything I did. Flowers are the only thing that I feel deeply connected with in my emotions and memories. Through flowers, I have learned about my own gender identity. I have been able to heal my past traumas in part through the art I create with these beautiful flowers as the narrator.

Naraphat Sakarthorsap, ‘The Cage (No. 1)’, 2020, aquarium and cactus. Image courtesy of the artist.

In 2019, you presented your work in ‘Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia’. How does your work in this exhibition shed light on social inequalities?
I received an email from the Bangkok Art & Culture Center (BACC), saying my work had been selected to be shown at this exhibition. I am grateful to be able to exhibit my work anywhere since I get to learn that there are still many people who struggle with expressing their sexual identities just like me. To me, art exhibitions are a safe space for people who suffer from similar traumas and issues in their life to know that they are not alone.

Naraphat Sakarthorsap, ‘The Cage (No. 2)’, 2020, aquarium and cactus. Image courtesy of the artist.

Last year, you collaborated with Thai fashion designer Shone Puipia in ‘Cloudbusting’ (2020) for his label SOI SA:M. Could you talk more about this collaboration?
The collection ‘The Cage (No. 2)’ (2020) was fully supported by Shone Puipia. It talked directly about my family especially during COVID-19, when I needed to work from home. My house is a commercial building with a shared bedroom, which is why I need to use it as an office during the day. I woke up every day to all the people in my family sitting together in that bedroom. It was a real torment since I felt like I lost my personal space to work. As a result, ‘The Cage (No. 2)’ (2020) was created because I felt like a cactus that needed sunlight and warmth, but instead, I was locked up in an aquarium full of water, not able to escape. It was a real honoir for me to collaborate with Shone Puipia and his friends. It is rare for artists to receive a budget and freedom to create a concept for art commissions, both of which I received for this project.

Naraphat Sakarthornsap, ‘Ignorant Bond’, 2015, photography. Image courtesy of the artist.

Who has been a mentor or an important artistic influence? And why?
I would like to give all the credit to my mother and all the art teachers I met in my life. I have felt fully supported to pursue art and they have believed in me the most.

What was one important piece of advice you were given?
My professor in my university, Assistant Professor Dr. Prapon Kumjim once said to me when I felt like I was at a dead end, “Once you graduate, no one will value your art with grades any more. So keep making art without thinking too much about people other than yourself already.”

Could you share your favourite art space or gallery in your country? Why are you drawn to that space and what does it offer to you/ your practice?
I started my art journey at Whitespace Gallery which is now closed. I would like to thank Thai artist Maitree Siriboon and the gallery’s former manager Charuwan Chanthop. They are the people who gave me the opportunity to exhibit my project at the gallery. My work was seen by more people because of the support by these two. For me, the gallery space is important but not as important as the people who run it. If I were to choose a favourite gallery that is currently open in Thailand, I would choose 1Projects founded by Charuwan.

What are your hopes for your own local art scene, and regionally as well?
The most difficult thing for Thai artists is the lack of opportunity and support from the government. Especially during this pandemic, many new artists are so discouraged because there are no spaces available to showcase their works. Additionally, many artists struggle to present their art via online platforms, when in reality, many artworks cannot fully be experienced online. I wish our government showed more support to local artists and took care of the COVID-19 situation as soon as they could, before all the artists give up on their dreams, desert their passion in art and must focus on a full-time job instead.

Exhibition view of ‘Perfect Flowers’ (2013) by Naraphat Sakarthornsap at Yangon Pride Photo. Image courtesy of the artist.

Are there any upcoming exhibitions/projects that you would like to share more information on?
If everything goes as planned, I will have a solo exhibition with SAC Gallery this September. This collection of works was conceptualised five years ago and has been in development up until now. The situation in Thailand remains unpredictable due to the ineffective measures and unprofessional management of the current government. For now, I can only hope to finally get to exhibit this collection this year.