La Lanta Fine Art is delighted to present “The Grandmaster: After Tang Chang”, Vichit Nongnual’s solo exhibition of works made in homage to Tang Chang, one of the leading figures of Thai modern art. In partnership with curator Panu Boonpipattanapong, Vichit engages the longstanding pedagogical tradition of “copying” the works of the great masters, an approach that presents a foil to concepts of copyright and intellectual property that prevail in the capitalist world. Captivated by the creations of Tang Chang since his early student days and throughout his professional career, Vichit’s admiration and faith have only grown over time, culminating in an exhibition that embodies a three-part dialogue with the master artist. 

The first approach is to directly replicate Tang Chang's work. Vichit imitated Chang's work from memory, having studied the markings of the original pieces, working process, practices, and various types of paint and materials used based on oral accounts from Chang's direct descendants. Although the resulting piece differs from the original, it effectively captures Chang's emotions, feelings, and spirit, almost as if having brought Chang back to life to create the new pieces.

Vichit’s second approach showcases his signature styles and techniques. Instead of applying colors to the canvas, Vichit reinterprets “Cutting the Poet’s Hand, Gouge out the Painter’s Eye” (1973), one of Chang's most famous pieces, by weaving wool, a natural fabric, to express his vision where he was unable to imitate it accurately. Vichit employs similar techniques to recreate photos of Tang Chang and his family. In the former, viewers can sense Chang's strong determination to protest against the violation and suppression of people's freedom of expression; in the latter, the softness of wool fibres convey bonds of love and support that transcend generations.

The third approach involves the creation of three-dimensional sculptures that embody the physical traits of Tang Chang and his family members, including wool weaving and unique ceramic techniques that draw from Kinstugi. Vichit’s mimicry of Kintsugi, a Japanese method of object repair, is an allusion to the Eastern philosophies that influenced Chang's attitude and work style, which, like that of other artists during the modern art movement in Thailand, did not solely rely on Western art techniques. Further highlighting Chang’s Eastern influences, Vichit created ceramic replicas of a famous Chinese text, the “Ah Q”, translated into Thai by Chang and formerly banned by Thai authorities. Vichit also ventures into relational aesthetics, producing chocolates meant to be consumed by viewers. As edible art objects, they blur the boundaries between art and audience while evoking the Eucharist, and serve as a tribute to Chang’s avant-garde mentality, reflected in Vichit's own exploration of diverse and captivating techniques in creating this series of works.