Natee Utarit

Bridging Art, Culture and Critique

b. 1970, Bangkok

Natee Utarit is a contemporary Thai artist whose complex and multilayered paintings merge Surrealism with Western historical art traditions to comment on Thai politics, society, and culture. His practice, characterized by a love of metaphor and hidden symbolism, delves into themes of modernization, postcolonial identity, and the influence of Western art and ideals on Southeast Asia. By drawing from diverse traditions and genres, Utarit creates artworks that are as thought-provoking as they are visually striking, encouraging viewers to engage with deeper socio-political narratives.

His compositions often create a dreamlike atmosphere, filled with layered narratives and hidden meanings. By incorporating techniques like dramatic lighting, intricate detail and perspective, Utarit evokes the grandeur of European art traditions while imbuing his work with distinctly Thai cultural elements. This highlights Utarit's nuanced perspective on cultural assimilation. While recognizing the benefits of modernization, his work also underscores its downsides, particularly the ways Western practices can exacerbate socio-economic divides.

Religious and Philosophical Undertones

One of Utarit's most ambitious projects is the series Optimism is Ridiculous: The Altarpieces (2012-2016). This body of work consists of twelve large-scale paintings modeled after Christian altarpieces. Through this series, Utarit critiques the fragility of the modern world, addressing issues such as socio-political instability, environmental degradation, and the erosion of traditional values in the face of globalization.

While the altarpiece format is rooted in Western Christian art, Utarit fills these compositions with references to Buddhism, contemporary art, and Thai cultural motifs. This fusion underscores his ability to transcend geographic and cultural boundaries, creating works that resonate on a universal level. The series also reflects Utarit's philosophical outlook, questioning humanity's ability to find stability and hope amid modern challenges.

The Role of Symbolism

Symbolism is central to Utarit's work, allowing him to communicate complex ideas subtly and effectively. In King, for instance, the golf trolley—a seemingly mundane object-becomes a powerful critique of Western elitism, while the statue of Phra Siam Devadhiraj alludes to the tensions between tradition and modernization. Similarly, the Optimism is Ridiculous series employs religious and cultural symbols to explore humanity's struggles and contradictions. These layers of meaning invite viewers to engage deeply with the artwork, deciphering its metaphors and contemplating its broader implications.

Legacy and Global Impact

Through his innovative practice, Natee Utarit has established himself as one of Southeast Asia's most significant contemporary artists. His ability to merge diverse influences and address universal themes has earned him recognition both locally and internationally. Utarit's works are held in prominent public and private collections, including the Queensland Art Gallery and Gallery of Modern Art in Brisbane, the Singapore Art Museum, and Bangkok University.

His exhibition such as Déjà vu: Buddha is Hiding (2024) at STPI reflects his study of the intersection of Eastern and Western ideologies. When the Sun Rises in the West (2022) and Illustration of the Crisis (2013) showcased his ability to tackle pressing contemporary issues through the lens of art history and cultural critique. Meanwhile, group exhibitions like We Do Not Dream Alone (2021) and the Bangkok Art Biennale (2018) have placed his work within broader discussions about Southeast Asian art in the global context.

His use of metaphor and symbolism invites viewers to reflect on the complexities of modern life, from the impact of globalization to the tensions between tradition and modernization.

Natee studied at the College of Fine Art in 1987 and at Silpakorn University in 1991, both in Bangkok.