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While the topics are all totally different, each has similarly a hole the place the guts is-a void in the canvas that nestles a smaller, internal canvas. The selection of spray painting on plexiglass as a substitute of the usual canvas can also be important. With the plexiglass he additional analyses the complexity of the human psyche, presenting full-physique figures spray painted with stencils like graffiti. In New York, he started experimenting with graffiti. Within the years 2020-21, lives had been overturned by the chaos of the outbreak. This psychologically saturated register additionally serves as a mirror of the times he lives in, growing up in conservative Thai society, and the languish of isolation enforced by the Covid-19 pandemic. It is thru this emotional channel that we enter the next register of his visible framework: Gongkan’s own expertise of coping with social pressure and, particularly within the works for Inner Place, the importance of introspection in our every day lives. Featuring his nondescript boychild as a logo of humanity, characterised by colours corresponding to emotional states, the newly commissioned works for Inner Place impel the viewers to examine the ability that dominant emotions train in our lives.

Like a flame that rises, the colours circulation in gradients, extra saturated on the toes and diluting to different hues in direction of the head. Because the exhibition reveals, only by embracing life’s conflicting emotions by emotional agility can we settle for our true selves, at the same time as we journey the roller coaster journey from social disturbance to self- acceptance. The exhibition Inner Place is situated here, accentuating the significance of self-acceptance that finally results in happiness on a roller coaster journey of feelings: sadness and joy, despair and pleasure, love and hate. The thought of creating these binomial works is symptomatic of the way Gonkan perceives the flaws of our relationships with one another: though we could appear a method, our inside place is multilayered, complex. As time passes, art has develop into an avenue through which he copes with social strain, an escape to a spot the place he may nurture his personal rules-akin to friendship and mutual respect-values that are recurrent in his works. We have to take time to recognise who we really are. And it is in New York that he developed his idea of the Souleport, a portmanteau of Soul and Teleport, illustrated as his trademark silver disc, a time machine that transports, so to talk, him and his viewers to an imaginary world of freedom and equality.

Within the early levels, he had moved to New York where he first encountered graffiti, and was exhilarated by its giant scale, direct social communication and intrinsic anonymity that may enable him to unburden himself of the outsider feeling amid the US tradition. Recent statistics in Thailand indicate improve in cases of depression and suicide because of financial insecurity and other struggles amid the pandemic, together with higher social pressure that youths face at the moment-agonising to appear to be perfect or pretending to be who they aren’t. For Gongkan, these two apparently contrasting registers are reconciled by way of a visual language that’s fast yet capable of triggering deep, subconscious response. The way he reconcile the enjoyable with the serious, the cool with the emotional (as a result of in social media terms one can’t be cool and sentimental), comes through using the promoting language acquired earlier in his profession, which seeks to manipulate our vulnerabilities by means of its personal targeting. On one hand, we regard the picture itself, which is flat, colourful and minimal.

In line along with his intention to understand the power unleashed by our emotions, Gongkan wanted a medium that was diaphanous yet strong, that was able to hint the ghostly, hidden image of ourselves. Through these works Gongkan takes the viewer on a journey into his feelings, allowing the viewer in turn to enter their own “inner place”. This very lightness and linearity of composition in his works is paralleled by an intensely emotional dimension. The MBA-i Program’s distinctive pedagogy allows participants to experience actual corporate innovation challenges and develop a greater skill to use their newly acquired information to resolve concrete modern innovation managerial challenges. Bangkok University‘s Master of Business Administration in Innovation Management (MBA-i) stands at the forefront of nurturing the following technology of enterprise disruptors and creative leaders. Moreover, a brand new technology of entrepreneurs, social innovators, and company intrapreneurs will play on the same skills to disrupt incumbents too sluggish to embrace new technologies and change. In the modern enterprise world the place the tempo of change is accelerating, the ability to innovate is not only a bonus; it’s a necessity.