Natee Utarit: “At the spiritual level, we are not different at all.”

Thai artist reflects on the conclusion of his six-year-long ‘Déjà vu’ series

Born in 1970 in Bangkok, Natee Utarit is one of the most celebrated contemporary artists in his generation. He is best known for his approach to painting as a means of questioning classical Western genres and art history. His rich compositions often blend elements from different cultures and time periods, as well as symbols that speak to the sociopolitical context of Thailand. 

We speak to the artist at the conclusion of his ‘Déjà vu’ series, with two solo shows in Singapore at STPI – Creative Workshop & Gallery and The Private Museum, as well as the group exhibition ‘The Spirits of Maritime Crossing’ (2024) presented as part of the 60^th Venice Biennale. The inception of ‘Déjà vu’ came about through a project the artist was invited to work on in Naples in 2018, where he wanted to combine ideas and beliefs from eastern and western cultures. The thought experiment Natee toyed with was: what would it be like if Lord Buddha travelled to the West before the emergence of European civilisation? This question led to a body of work that challenges Eurocentric worldviews and the cultural imprint left by colonialism. 

In this conversation, Natee looks back at this six-year-long series and shares his process behind undertaking such an ambitious project. We begin with the bronze sculpture that marked the inception of this series, sharing the same title ‘Déjà vu’. It depicts an encounter between the Buddha and Doryphoros, a classical Greek figure of the spear-bearer. This work succinctly captures the theme of east-meets-west, which runs through the entire project.

Could you say more about where these two figures in ‘Déjà vu’ came from and how they relate to the title?

My initial intention for the sculpture was to show the connection between Greco-Roman culture and that of Asia through the art of the ancient kingdom of Gandhara. But my plans began to evolve once I made a visit to the National Archaeological Museum of Naples. There, I saw an utterly amazing collection of Greco-Roman marble statuary. One of the pieces in particular, a marble spear-bearer (Doryphoros), strongly resonated with me. Looking at it gave me a strange feeling that combined familiarity and distance. It was as if I had seen the sculpture somewhere before a long time ago but could not place it exactly. In fact, various minor elements of several other pieces in the collection gave me the same uncanny feeling. However, the statue of the spear-bearer gave me the most clarity on the nature of this feeling. The image of the sculpture dovetailed nicely with thoughts and feelings I had about certain Buddha images I was familiar with. It was like this Greco-Roman sculpture had been superimposed on a statue of the Buddha. Whether this was merely accidental or whether it was due to the influence of Greco-Roman art on the Buddhist religion, this strange sense of déjà vu allowed me to imagine what it would be like if the Buddha made a trip to Naples. Certain details have been changed in the final work, but the ancient Doryphoros is there in my sculpture of the walking Buddha.

Visiting both your exhibitions at The Private Museum and STPI, one would notice a mirroring of certain motifs and forms. For instance, a fragmented sculpture might be cast in bronze and also paper. While the effect of embroidery in one painting might be translated into flocking into the work produced in collaboration with the STPI’s Creative Workshop. Could you talk more about your experience in this collaboration and how it pushed your thinking?

For me, seeing my major works transformed into printmaking is very interesting. Since I graduated from Silpakorn University with a degree in printmaking in the early 1990s, it has given me a different perspective on printmaking and its possibilities. I see printmaking as a process driven by creativity, planning, and problem-solving. Thus, it excites me when I need to come up with ways to transfer the techniques from a different medium into the language of printmaking. I need to do this while still maintaining the original character of the work and its initial concept. Yet through the collaboration, something new is created and communicated.

The figures or characters who appear in your paintings are based on real people, including friends and acquaintances. What is the reason behind such a method of working?

I usually work from facts and stimuli around me. The same goes for portraits and different meanings arise depending on the specific conditions around the making of the painting. Often, the personality of the subject determines the mood of the image. It is all a process that is based on the truth around me, and it varies based on the angle that I choose to present the story. 

The ‘Déjà vu’ series was conceived in 2018, and spanned multiple presentations around the world. Could you share if there are differences in the responses you received from audiences in Southeast Asia and Europe?

I received messages from audiences in Italy where the ‘Déjà vu’ series made its debut. Someone wrote, “After all, we are all the same, not different.” I was very much impressed that my work conveyed messages that could unite two different cultures through overlapping religious beliefs. I believe that this is a meaningful and significant thing as it enables me and other artists from this part of the world to realise the essence of our heritage. It also reduces the cultural gap that has been embedded in our minds since the colonial era in Asia. 

The feedback is consistent with that of Asian audiences. There is an attitude of convergence without discrimination or a sense of ridicule from the legacies of history. It shows that all of us, whether we are from the East or West, differ only in our beliefs, geography and lifestyles. But at the spiritual level, we are not different at all.

How do you feel after concluding this six-year-long series?

I think now is the time because I have so many interesting ideas on my waiting list. Actually, while working on the ‘Déjà vu’ series, I have explored new things through offshoots from the series or totally different bodies of work. During this six-year period, there have been both dynamic and calm periods which bring me great happiness.

You tend to work in large cycles of work, such as in the previous series ‘Optimism is Ridiculous’. What is the preparation process like before embarking on them? And how do you sustain your interest or manage your time to see through the project?

What I try to maintain in my artistry is work discipline. I arrive at my studio at 6:30 a.m. every morning and leave at 7 p.m. every day. I think that discipline and consistency are the most important factors in creating the conditions for tangible success, in art and all other pursuits. When working on large-scale ideas with complex and diverse display methods and techniques, great concentration is required to keep us focused. It can be said that you must keep your perception sharp and be ready to work once you encounter inspiration or creative possibilities at any time. Of course, these things may not be directly related to work ethic, but we cannot deny that discipline and consistency helps empower this kind of creative instinct.

Natee Utarit, ‘THE SUPER UNKNOWN – 02’, 2024, oil on canvas, 80 x 60cm. Image courtesy of the artist and Richard Koh Fine Art.

Lastly, could you give us a teaser of your new works which will be presented at S.E.A. Focus 2025?

The 16 pieces in S.E.A. Focus 2025 are developed from ideas that came up as I finished the ‘Déjà vu’ series. They speak to postcolonial ideas through the attitudes and reactions of the young generation today. I chose to represent the images in the style of comic strips and illustrated content. When all the paintings are seen together, they would read like a graphic novel. The outcome is pretty hilarious.

Natee Utarit will be presenting a new body of works at ‘Disconnected Contemporaries’, S.E.A. Focus 2025, represented by Richard Koh Fine Art.

S.E.A. Focus 2025 runs from 18 to 26 January 2025 at Tanjong Pagar Distripark, Singapore.