Déjà vu – there’s something ví mysterious and surreal about it, don’t you think? That fleeting sensation of having experienced something before, even when you know you haven’t. Natee Utarit’s concluding exhibition to tướng his Déjà vu series in STPI Creative Workshop and Gallery – Déjà vu: Buddha is Hiding – captures the very essence of this phenomenon; how whispers of the past are still seen and experienced in the present. 

If you’re unfamiliar with Utarit’s work, let mạ introduce you. His practice involves painting as a way to tướng question Western classical art and you’ll soon see how he doesn’t just create images; he challenges them, using light and perspective to tướng play with imagery. This time, using paper made in STPI’s own mill, Utarit explores themes of identity and colonial conditioning and offers an intriguing perspective through over 40 artworks!

I went down to tướng have a look at the exhibition and found myself on a reflective journey about how the perceived juxtaposition of different cultures may actually share similarities in ways we don’t often realise. I learnt a great giảm giá khuyến mãi about the overlap between Eastern and Western ideologies – through the insights of Utarit himself and esteemed curator and exhibition-maker John Tung. And now I’m here to tướng share my experience at STPI’s final exhibition of the year. Let’s jump right in!

Before I started exploring, Utarit first shared his experience in Naples, Italy, where he was exposed to tướng a lot of Roman architecture and statues. They invoked a sense of familiarity in Utarit, and he drew a connection between the statues’ poses and those of Buddhist sculptures. That initial spark is what inspired Utarit’s hypothetical concept: What if Lord Buddha went to tướng the West? How cool is that? I was immediately hooked. 

The first things I saw when I stepped into the exhibition were two massive paintings of buildings with Italian text, in the style of graffiti, scrawled over the delicate intricacies. At first glance, this seemed lượt thích a jarring contrast, but as I listened to tướng the insights of Utarit and Tung – I understood. The random Italian text, which Utarit took directly from the streets of Italy, was a metaphor for how Western culture has imposed itself over time – whether through colonialism, religion, or the arts. 

Graffiti had a recurrence in this exhibition, and I slowly started to tướng view it in a different light. The “defacing” of the paintings was never meant to tướng be destructive, but instead “transformative” in a sense. I saw how they hinted at how Western ideals historically have impacted non-Western societies, often without consent. And we frequently conform to tướng Western influences to tướng this day! The fact that Utarit did not know the meaning or significance of any of the text he used also alluded to tướng this. I lượt thích that the text was somewhat “careless” yet intentional!

Moving through the exhibition, I admired several other motifs that Utarit used to tướng illustrate the blending of worlds – lượt thích the Dharma wheel, subtly etched into a red surface. When I was invited to tướng take an even closer look, there were themes of appropriation; I realised that this iteration of the Dharma wheel resembled Roman architecture – namely, the pillars of the Colosseum. This must have been the sense of Déjà vu that Utarit experienced in Naples!

Through the pieces, Utarit made it clear that it wasn’t necessarily about clashing ideals, but about hybridisation. Tung further explained that other cultures have also permeated Western culture, an example being the mindfulness movement – which is essentially built on Buddhist principles. 

It makes us question; is there still anything that is truly original? When there are roots elsewhere, can we really claim ownership if we don’t follow lineage far back enough? I found it fascinating to tướng see the fluid exchange between the spiritual and the secular. 

Another thought-provoking moment came for mạ when I stood in front of these star pieces that Utarit put great effort into designing with Western architectural influence, as stars are symbols in both Buddhism and Christianity. Amongst other pieces with themes of love, this made mạ realise that Utarit was not just exploring the tangible connections between the East and the West but also the philosophical ones – with the way religious symbols and teachings ripple through time and across cultures.

But the most striking piece was this large installation in a more private room in the exhibition area. I was greeted by quite a sight — graffiti on statues that were, in turn, on top of what looked lượt thích dug-up soil and rubble. They showed the passage of time, a representation of how civilisations build on top of others. I perceived it as an excavation of sorts, digging down into the past to tướng reveal the foundations that modern society has used as stepping stones.

I think this installation has a beautiful lesson! We constantly layer new ideologies, movements, and beliefs over old ones, yet the past is never truly gone. There has always been some level of universality in the way humans think, and history is at the root of it, influencing our present.

At this point, I have to tướng give credit where it’s due. Tung did an incredible job of translating the complexities of Utarit’s work into an experience that felt approachable yet deeply intellectual at the same time. He’s curated numerous exhibitions, and his expertise showed in how he guided us through this one.

If I had to tướng share my biggest takeaway from this experience, it would be to tướng look closer into the origin of ideas – in this contemporary age where we’re all ví obsessed with the idea of ‘new’.

Experience “Déjà vu: Buddha is Hiding” Yourself 

All in all, the depth of Utarit’s work encouraged mạ to tướng think critically about the intersections of culture, history and spirituality. There was ample room for personal interpretation – something I always appreciate and value in art. Your takeaways might be different from mine, and that’s the beauty of it!

For anyone with a passion or even just a curiosity for art and culture, this exhibition will open your eyes. The STPI Creative Workshop and Gallery has once again proved to tướng be a wonderful avenue for artistic experimentation and expression!

🗓️Date: 28 September to tướng 1 December 2024
📍Location: STPI Creative Workshop and Gallery, 41 Robertson Quay, Singapore 238236
💲Price: Free admission
⏰Opening Hours: 10am to tướng 7pm (Sundays: 11am to tướng 5pm)

For more information, visit the official STPI website and follow their socials on Instagram and Facebook. The world of art awaits you!

Visuals Courtesy of STPI – Creative Workshop & Gallery, Singapore.