Thai ideas

During his lifetime, Montien Boonma became one of Thailand's most respected visual artists. His work blends the customary with the modern; even though, in his own words, he preferred to use "primitive" materials.

Deeply rooted in the traditional Thai way of life, and the Buddhist religion, the exhibition of Boonma's work at the Asia-Pacific Triennial in Brisbane provides a small glimpse into the artist's immense talent.

The centrepiece is the mammoth Temple of the Mind (1996), a steel and aluminium structure resembling a Thai temple. Inside the structure, what looks like organic material hangs from its tip. These strange structures seem to be lungs, suggesting a connection between the temple and life itself. The work draws the viewer's attention to the importance of the temple in Thai life. For non-Buddhists, the piece seems a little didactic, but it illustrates clearly Boonma's concerns.

Salas for the Mind (1995), like Temple of the Mind, invites the viewer to enter the work itself. The salas (pavilions) sit on spindly legs, allowing the viewer to enter the metal "pavilion" above. Each has the question mark like symbol for the mantra Om cut in rings around it, allowing the mantra to literally envelop the subject. In a way, your "mind" (ie your head) can find "refuge" inside there pavilions.

Black Altar (1995) comes out of a similar philosophy. The metal altar sits on three points only, and has the Om symbol cut into itself in rows. A nice touch is the addition of red iron oxide powder to the piece. The dust is sprinkled in one corner, duplicating the pattern of the mantra on the floor. Over time, it disappears; emphasising the fragility of life (and, I suspect, the durability of religion).

The final piece is the amazing Lotus Sound (1992). Rows of bells are arranged in a semi-circle against a wall. Mounted on the wall above is the gilded stem and petals of a lotus flower, seemingly showering the (silent) bells with their own golden sounds. This extraordinarily contemplative piece is a triumph of simple yet striking design.

While the APT is showing only a small part of Boonma's work, it does provide an insight into the artist's fundamental concerns. This certainly isn't the flashiest exhibition in the Triennial, but it is one of the most deeply thoughtful.

David Edwards

Send us your feedback on this article or anything else in The Blurb