Assoc.Prof. Sutee Kunavichayanont
Sutee graduated the high school grade 3, the last alumni, and studied art for Vocational Certificate at College of Fine Arts, the Fine Arts Department for 1 year which is the period before 200th anniversary of Rattanakosin. He could pass the admission exam to study in the Faculty of Fine Arts, Chiang Mai University where he was counted as the second alumni in 1984. One year later, he entered the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University and received Bachelor of Fine Arts certificate, Printmaking , in 1989. Afterwards, he attended the Sydney College of the Arts, Sydney, Australia, and received the Master of Arts, Visual Arts.
He joined the government service in the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University 1992. Now, he serves as an associate professor and the head of Art of Theory. Apart from being an instructor, he wrote articles about Art in various media such as the column named “Galleria” in Krung Thep Wan Arthit of the Bngkok Business News twice a month and Silpa Wattanatham (Art & Culture) column of the Siamrat Sapdavijarn once a month. His first book is Jak Siam Kaw Su Thai Mai (From Old Siam to New Thai,): about the change from convemtional art to contemporary art issued in 2003. In 2011, he issued two more books which are Visual Arts and 10 Questions You Want to Know about Art. In 2005, he collaborated with Panna Wijitnanthasarn and Lakana Kunawichayanon, perfprmed a duty as a curator in exhibition “Kon Tai Yak Yoo Kon Yoo Yak Tai” in Thai Pavilion in Thai Contemporary Art Fair, Venis, Biennale.
Furthermore, Sutee also plays a significant role as an art creator. He has both collective as individual art many times such as Fontok kimoolai 1998, Burden of Joy (1999), Stereotyped Thailand, Longing for Siam, Inventing Thailand, and The World Without Politics and Crazily Good (2010).
In 2002 won the scholarship of creative arts, Silpa Bhilasi from the art gallery, Silpakorn University and won an Red Art award from Pridi Banomyong Institute. Besides, Sutee’s workpieces have been selected to be shown in a huge number of international contemporary art fairs e.g. Trace, Liverpool Biennial of Contemporary Arts, Liverpool, UK. (1999) Imagined Workshop, the 2nd Fukuoka Asian Art Triennale 2002, Fukuoka Asian Art Museum, Japan. (ปี 2002) The 5th Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, Queensland. (2006).
In 2002, Sutee received Sil Bhilasri award from the Art Centre Silpakorn University and in 2006 he recived Red Art Award from Pridi Banomyong Institute. His artworks are also selected to exhibited in a wide range of international fairs, such as Trace, Liverpool Biennial of Contemporary Arts, Liverpool, UK. (1999) Imagined Workshop, the 2nd Fukuoka Asian Art Triennale 2002, Fukuoka Asian Art Museum, Japan. (ปี 2545) The 5th Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, Queensland. (ปี 2549).
The most notable workpiece of him is in 3D that create activities that the audience can take part in the work e.g. tired sculpture with human, elephant, buffalo and tiger figures.
In this collection, the watchers have to devote their breath by breathing out to the pictures so that those sculptures will revive as if they are really alive. Moreover, there is also a collection name “Historical Room” (Ratchadamnoen Road). This workpiece can be print as modern Thai historical book by themselves. By sharpening the student table surface sculpture picture on the paper.
Many international contemporary art museums collect his artworks in the warehouse such as Fukuoka Asian Art Museum และ Mori Art Museum in Japan, Singapore Art Museum in Singapore, H&F Collection in Natherland, Queensland Art Gallery in Australia, FEFW Collection, Museum of Contemporary Photography in USA and ARTER Foundation in Turkey.
1990 – Sutee Kunavichayanont kub sing thi yu pai nai lae pai nok manud, Chewit Chewa, Nangsupim Watthajak, (Bangkok: April 2, 1990), p.16.
1991 – Chow. Thana, Phab chud roop lae ar-roop kong Sutee Kunavichayanont, Satrisarn, (Bangkok: March, 1991).
– Limthanakul, Wimonsri, Someone to Watch Over Me, Lalana, (Bangkok: March, 1991), pp.182-183.
– Pathawee, See san henk roop raung, Image, (Bangkok: February, 1991), pp.256-257.
– Silasai, Figurative Colours See san kong sam silapin, Keuw, (Bangkok: March, 1991), pp.118-119.
– Jitima, Figurative Colours kong sam silapin noom, Lalana, (Bangkok: March, 1991) pp.219-223.
– A Spiritual Emphasis, The New England Times, (Australia: Saturday November 30, 1991).
– Forman, Kerry, Sutee’s Thought Make a Pretty Picture, The Armidale Express, (Australia: Wednesday November 20, 1991), p.8.
1994 – Sai nam lai jak Sutee Kunavichayanont kaum pled plag nai tuk kana jit, Lokkeela-Chewit Chewa, (Bangkok: no. 1670, 1994), pp. 14-15.
– Pled’,Paisan, Kamnaug nai tuk kana jit, Variety, (Bangkok: April, 1994), pp.139-142.
– Sai nam lai, Face, (Bangkok: vol.5, no.48, 1994), pp. 172-173.
– Apichardtrakul, Kajohndaj, Chewit meun sai nam lai pai leaw mai heun kab, Siam Post, (Bangkok: Friday May, 1994)
– Kaum maai “Sai nam lai” Sutee Kunavichayanont, Chewit Chewa Nangsupimwatthajak, (Bangkok: no. 2690, 1994), p.8.
– Cooke, Dudley, The Makings of an Art Exhibition, Sunday Bangkok Post, (Bangkok:) p.26.
– Knithichan, Khetsirin, Moving with the Flow of Life, The Nation, (Bangkok: The Nation Multi Media Group, May 9, 1994), p. C8.
– Wayla lae jit soo sai nam lai kong Sutee Kunavichayanont, Judprakai, Krungthep Toorakij, (Bangkok: May 9, 1994).
– Thirapongwit, Paisarn, Thon tan silpa kong Sutee, Seesan, (Bangkok: no.1, 1994), pp.55-60.
– Thamnu, Aoomchon, Sai nam lai satond phawa jit, Perfume, (Bangkok: no.2, 1994) pp.250-253.
– Wayla lae jit 1 “Yuksamai hang kan sawang ha sara”, Nangsupim Phujadkarn, (Bangkok: May, 1994).
– Chapakdee, Thanom, Sai nam lai ponguan installation kong Sutee Kunavichayanont, Donkbia raisabda, (Bangkok: May 22-28, 1994), pp. 40-41.
– Jit yung yuang bon sen see rai rabeab, Weekend, Nangsupim Phujadkarn Raiwan, (Bangkok: May 21-22, 1994), pp.42-43.
1995 – Susita, Sutee Kunavichayanont, Silapa satond wicrid chang Thai, Chewit Chewa, (Bangkok: 1995), pp.100-101.
– Guan krang mai kong Sutee Kunavichayanont “Chang perk Siam” sayalak ku sakkum Thai, Siam Post, (Bangkok: March 20, 1995), p.12.
1996 – Siribanchat, Prayanee, Natthalak nai thadsanasilp miti hang kan tikuam guansilp song roopbab, Judprakai Krungthep Toorakij, (Bangkok: March, 1996), p.18.
– Supakorn, Walan, Sutee Kunavichayanont, Thammai tong auo “kram chang” paitid panang, Suksamran, Korrawik, Krungthep Toorakij, (Bangkok: March 22, 1996), p.16.
1998 – Phataranawik, Phatarawadee, Reflecting A Change, The Nation, (Bangkok: June 29, 1998), p.C6.
– See Foon, Shit Stirring, Bangkok Post, (Bangkok: June 17, 1998), p.8.
– Khidanan, Fontok kimoolai nai moom mong kong Sutee Kunavichayanont, People Raipak, (Bangkok: no. 102, July, 1998), pp.62-64.
– Maneekul, Yuwadee, Pakudtakan “silpawijai” nai “Fontok kimoolai”, Judprakai Krungthep Toorakij, (Bangkok: June 15, 1998) p.8.
– Thirapongwit, Paisan, Fontok kimoolai lae Sutee Kunavichayanont, Seesan, (Bangkok: August 1998), pp.39-44.
– Marazzi, William, Anxiety and Frustration, Living, (Bangkok: September), pp.72-75.
– Tawee’, Sompong, Fontok kimoolai, Nation Sudsupda, (Bangkok: The Nation Multimedia Group: July 2-8, no.317), pp.54.
1999 – Pettifor, Steven, Sutee Kunavichayanont, Art Asia Pacific, (Australia: issue 22), pp.88-89.
2000 – Elisabeth Sussman, Report from Liverpool, Britannia’s Biennial, Art in America, (USA: vol.88, no 7, July 2000), pp. 55-59.
– Joan Kee, Transience and Time, a Mattress Factory Residency, Art Asia Pacific, (Australia: issue 28, 2000), pp. 22-23.
2001 – Iola Lenzi, Sutee Kunavichayanont, Atelier Frank & Lee, World Sculpture News, (Hong Kong: vol 7, no.4, autumn 2001), pp. 66-67.
– Lena Chong, Inflated Nostalgia, Solo Exhibition by Sutee Kunavichayanont, Vehical, Contemporary Art, (Singapore: Plastique Kinetic Worms, no.2/2001), pp.6-8.
2004 – Fiona Kerlogue, Arts of Southeast Asia, (UK: Thames & Hudson Ltd., 2004), p.191.
2010 – John Clark, Asian Modernities: Chinese and Thai art compared, 1980 to 1999, (Sydney: Power Publications, 2010).
– Sudarat Musikawong, “Art for October : Thai Cold War State Violence in Trauma Art,” in Positions : East Asia Cultures Critique, (USA: Duke University Press, vol 18, No.1, Spring 2010), pp. 19-50.
– Chol Janepraphaphan, “Burden in the Classroom,” in The Classroom , catalogue (Bangkok: Numthong Gallery, 2010).
2012 – Sandra Cate, “Thai Artists, Resisting the Age of Spectacle,” in Modern and Contemporary Southeast Asian Art : An Anthology, book (USA: Cornell Southeast Asia Program Publications, 2012), pp.69-83.
Catalogue (Solo Exhibition)
1993 – Void and Emptiness, First Draft (West), NSW, Australia. (photo copy, with Buddhist quotes in English)
– Time and Mind, Tin Sheds Gallery, NSW, Australia. (photo copy, essay by Patsy Payne in English)
– Flowing Tide, Allen Street Gallery, NSW, Australia. (photo copy, with artist’s concept in English)
1994 – Flowing Tide, Silom Art Space, Bangkok. (with artist’s concept original in Thai and English)
1995 – The White Elephants of Siam, The Art Gallery of the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University, Bangkok. (with artist’s concept original in Thai with English translation by Luckana Kunavichayanont)
1998 – Rain Drops-Pig’s Shit Running, TADU Contemporary Art, Bangkok. (essay by Paretas Hutanggura, original in Thai with English translation by Oraya Sutabutr)
2002 – Burden of Joy, Bangkok University Art Gallery, Bangkok. (with artist’s concept original in Thai with English translation)
2004 – Inflatable Nostalgia, Atelier Frank & Lee, Singapore. (essay in English by Iola Lenzi)
2005 – Stereotyped Thailand, 100 Tonson Gallery, Bangkok. (essay in English by Steven Pettifor with Thai translation by Sutee Kunavichayanont)
2010 – Half Truth, Phuket 346, Phuket, Thailand. (with artist’s concept in English translation)
– Longing for Siam, Inventing Thailand, Number 1 Gallery, Bangkok. (with artist’s concept original in Thai with English translation)
2011 – Crazily Good!, Number 1 Gallery, Bangkok.
– The World Without Politics, Valentine Willie Fine Art, Singapore. (essay in English by Iola Lenzi)
Work Title:: Reversed Motherland
Technique: Painted Plywood
Size: 250 cm.