I cannot tell you that this is an exhibition not to be missed, extraordinary and striking by two gifted talented young artists who have the aptitude of skill and courage to make a strong impression in their own beliefs.... "Only One Point" at Gallery Opium continues until 24th March 2007. (... by Art Critic Michael Bulley)

In "art speak" one might call these works "art naivety". Perhaps lacking in sophistication, but very bold in directness of what they wish to say. The perfect example was a very simple soft line drawing in pencil by Fa. The drawing depicts a Thai elephant weeping tears for itself and other elephants of Thailand revealing to us as to how cruel and hard hearted people can be. It takes a 13 year old to see for all of us, and he won not only our hearts, but also first prize.

I am sure that all the many good people that attended this throng of art lovers would wish to thank the teachers of these schools and organizations for providing these children with an opportunity to express themselves through their art work. Our thanks to Ban Jing Jai Street Kids Home, Fountain of Life, Mercy Centre, Wat Nong Kei Noi School and the Drop in Centre.

The faces of the excited young artists of tomorrow were a picture in itself. It was the great Picasso that once rightly said: "All children are great artists. The difficulty is to stay in touch with the child, when we grow up." May they all live happily ever after. (... by Art Critic Michael Bulley)

Watercolour is the very oldest of art expression; did not our ancestors use both earth and blood mixed with water to create extraordinary paintings of animals in caves, not in worship but for good luck in hunting the next day? So now, we have an exciting contemporary view of watercolour works by 3 masters of this craft, each so different.

DISAPOL PAENGSRI, is a young colourist from Chonburi; his works reveal a grandeur of glorious expressiveness. He creates beautiful feelings of Thai art with all its intricate brush work that give each painting a feeling of the mystique. Contrast this style with ALAN KIRKLAND-ROATH’s paintings that have about them a feeling of the now… that convey a contemporary mood. His images are so very life-like as to grace any family home. And I, for one love his somewhat unabashed configuration of the female form. The last of these masters is CHAIYO, born in Laos; he has been a monk for many years, and this tells its own story. His works are of the spirit, soul like imagery of the mind and ghosts that visit him in the very night. His paintings have some what a religious feel to them; the beautiful intricate detail seems so precious, almost like story telling with paint…

This exhibition has an eloquent contrast of works that can be enjoyed by anyone wishing to revel in the exciting and unique picture making of watercolour art. (... by Art Critic Michael Bulley)

The Sheraton Pattaya Resort is hosting the largest contemporary art exhibition ever held in Pattaya for the next three months. Displaying the work of nearly 30 local and international artists, there is no admission charge and the venue itself is remarkable. "New Ecologies" was organized by Pattaya's Gallery Opium in conjunction with Bangkok-based art critic Brian Curtin and the team of emergent curator Manipa Jayawan and expatriate artist Ingrid Van der Heyden. Over a year in the planning, the outcome seems to be a great success.

However, while the site of the Sheraton is remarkable it clearly is not a conventional place to show art. The curator and organizers were undoubtedly challenged but they have made brilliant use of unusual spots such as the ponds, an outdoor restaurant and the beach. Van der Heyden's sculpture of a figure hugging a tree on the beach is particularly notable.

Many, if not all, mediums are on display: from painting to installation to video. "New Ecologies" is a curious title but the exhibition proposes new ways of looking at and experiencing Pattaya, outside of stereotypes. Regardless of the implications of this aim, the exhibition is well worth a visit.

Because of the Sheraton's location on a cliff, you can spend much time finding the artworks. Some are hidden in corners and the experience creates a feeling of exploration and surprise. There are too many artists to mention by name but anyone who visits will definitely discover a favourite. Some works will provoke discussion, such as the ambitious and imposing installations on the beach by Pratya Raktabutr and Simona Ambrosini. I defy anyone not to respond to these works, positively or negatively. However, Raktabutr's use of pastel colours have an uplifting effect while Ambrosini's wire and shell sculpture fits perfectly with the ever-changing horizon.

Van der Heyden created a particularly enjoyable installation in the interior of the resort. Crossing the boundary between sculpture and painting, the artist has created soft, padded figures from bed-sheets that are highly evocative. Nearby, small prints by Pat Savage whetted my appetite to see more of this artist's work.

The stairwell at the entrance displays two fine watercolours by Alan Kirkland-Roath. One expertly executed painting explores themes of personal identity in terms of disguise. Large, ravishing paintings by Graham Hiskett also make a great impression. Hiskett has a master's touch.

Opening events of art exhibitions primarily serve to get to know and maintain contact with like-minded people under the aspect of "see and be seen'. Sometimes they involve the presentation of art or the introduction of young or maybe already successful artists, who, from what one hears, should also sell one or even several of their works here and there. This admittedly somewhat unconventional characterization does not stem from Piroschka Dossi's book "Hype! Art and Money", published in Munich in 2007 but rather matched the impression the author gained on 31 January during his visit to the "Gallery Opium", at the opening of the exhibition entitled "Inspiration from my friend's spirit' featuring the works of Narong Wannasa, who was born in 1984 in the Thailand Province of Kalasin. Around 120 visitors had gathered in the gallery, about 80 percent of whom were foreign nationals. A brief meeting with the person who runs the gallery, Alan Kirkland-Roath, whose business card showed he himself is a "Watercolour Artist", set me on my path to go in search of the art scene in Pattaya for once.

1 February 2007: Visit of the Santi Gallery in Walking Street 309/ 1. The exhibition room drifts from the street into the building like a deep tunnel. Here, you find copies of pictures by an August Macke, a Rembrandt or even an Albrecht Dürer. Much to my surprise, however, the wall is also adorned with a number of portraits of the "foremost commander in history" - Adolf Hitler, who is shown once in unostentatious civilian attire, but also wearing a brown uniform with a swastika armband standing at a lectern. The surprise leaves me so speechless I even forget to ask the gallery owner what something like that might cost and most of all who buys something like this! When I set out once more into Walking Street for another visit to Santi Gallery because I would really like to hear the answers to the two questions from them, I find out that the gallery has in the meantime made room for the Nok Bar. - Pity? Actually, no!

16 January 2008: While sitting in a taxi driving down Thapphraya Road, which later turns into Pattaya 2nd Road, I quickly count more than ten galleries until we reach the junction with South Pattaya Road. At the entrance to "Boyz Town" I come across another one named "Artist Mana". The 39 year old Mana Yaprakham is just in the middle of creating a copy of Gustav Klimt's "Adele Bloch-Bauer" from 1907, on behalf of the Manager of the Tiffany Cabaret. Mana, who never learned to paint or reproduce but turns up as a pure autodidact, uses a lot of gold leaf in the process. To the superficial observer, the copy being produced comes surprisingly close to the original, of which Mana has a copy reproduced in 2007 and published in a voluminous picture book about Gustav Klimt by the Munich based publishing house Prestel Verlag. The question, why he doesn't try to develop his own style and use it to present himself at a gallery with a view of an exhibition, while he could still continue to earn a living with copies, fails because of his rather limited knowledge of the English language.

31 January 2009: In the solo exhibition mentioned above, "Gallery Opium" shows works by the artist Narong Wannasa. So it does exist after all in Pattaya - the true, creative art, which does not limit itself to the production of cheap copies of old or young masters or the fakes painted in oil for the loved ones at home. Narong is a member of the new Thappraya Group, named after Thappraya Road, where the group initially met on a regular basis and now maintains a studio. In addition to Narong, the group also includes Thawatchai Homthong, Vasin Suttikasem and Wasan Suttikasem. In October 2008, the group staged its first public exhibition "The Golden Kingdom" at the "Silom Galleria" in Bangkok.

5 February 2009: While looking for an independent art scene in Pattaya, I meet up with Alan Kirkland-Roath, the owner of "Gallery Opium", to exchange ideas at the Sheraton Pattaya Resort. The reason for the meeting is the fact that Alan, together with the Bangkok based critic Brian Curtin, has just put together an exhibition of contemporary art at the hotel. Under the title "New Ecologies", around 150 exhibits from 28 different artists from around the world are being presented, among others also quite a number of native artists. Like Alan himself, many are autodidact, but there are of course also those who have learned their trade by working their way up from the bottom. And, to say it right up front, the results that are presented here at the Sheraton are impressive!

"No, an art scene such as you'll find in many countries across Europe does not exist in Pattaya nor in Thailand", states Alan right at the start of our conversation. "This would require a tight network of galleries, which supported by a number of sponsors give artists the opportunity to exhibit their works. Take Germany, for example, there isn't a single larger town that does not have a gallery. In addition, it also requires a network of whatever shape that allows interested parties to maintain contact and to exchange information. And finally, an artist must also be able to earn a living from his profession! That's not possible in Thailand!"

"If an artist in Thailand isn't able to make a living solely from his art, one cannot help but ask if it's possible for the gallery owner", I interject. "No, that too isn't on the cards", replies Alan. There were three to four galleries in Pattaya. He's about to enter the fourth year with his own but without the many supporters who regularly make themselves available out of sheer enthusiasm for the arts one would not get very far. A well functioning art scene also needs reliable sponsorships in the background, which would also allow one to take some risks; because as a gallery owner, he does not judge what the artists deliver for an art exhibition and his goal is solely to give them a chance. "This, of course, sets you fundamentally apart from the European market, where one sometimes gains the impression that it has to be considered as art, if the gallery owner insist it is art!"

Alan can't suppress a wry smile. "Oh, you know, here in Asia we are still right at the beginning. Our goal is to initially introduce Pattaya to the many different manifestations of contemporary art in the first place. We hope to one day turn the current presentation into an annual Art Fair, which can then also be positioned in connection with other, comparable events in Pattaya. There's still a lot to do!" Before setting off for a tour of the exhibition, I still want to know from Alan why of all names it is called "New Ecologies". His reply is that Pattaya is a pulsating vibrating city shaped by the internationality of its visitors, always searching for itself and its own identity. The title "New Ecologies" specifically referred to this situation, namely to put the former sleepy fishing village Pattaya into context in the fast growing globalisation including all related risks and side-effects. This great diversity, this continuous change, the combination of national and international was being shown as an example with the variability of the exhibits on display. The tour can begin!

The numerous exhibits are finally presented in various areas of the hotel. Walking through its facilities simultaneously turns into a sightseeing tour through one of the most beautiful designer hotels in the city. The eye repeatedly strays from the art objects to the architectural charms of the building and the fascinating surroundings in which it has been built. Most of the exhibits have been integrated in the interior of the hotel, including its water features, in a way as if they had never stood or hung anywhere else. It is difficult not to be fascinated by both. And still, the quality of the exhibits is so exquisite throughout and at the same time so discreet that one is prevented from highlighting any of them by name. They meet the highest international standard and need not shrink from any comparisons.

"I am delighted such a splendid exhibition has been presented to us here; Pattaya has never seen anything like it before," is the consequently enthusiastic comment from Dietmar Koegerl, the German General Manager of the Sheraton Pattaya Resort, who at the same time proposes that "it would be best to walk through the exhibition late afternoon, and afterwards enjoy the sunset, while tucking into a substantial dinner in our restaurant." A suggestion the author endorses wholeheartedly. Highly recommended!

However, I may have been a bit hasty there, given that recent activities confirm there are encouraging signs it does exist after all, and is even well on the way of gaining increasing attention through spectacular events! Yet, contact among the different players, namely what we nowadays call a 'network', so far does not seem to work quite as well, which actually leads to the initial impression that it leads a rather modest and secluded shadowy existence in light of temples of pleasure and bars in the city. The answer therefore, is it simply a communication problem?

I came across the second find during my search of an independent art scene in Pattaya while visiting the new tourist attraction in the city, the 'Pattaya Floating Market'. This sight, which has only been operational since November 2008, has become a centre of Thai art and culture. It represents all of the country's regions, and today attracts both locals and farangs alike as a worthwhile destination for day-trippers. What was largely lost through the extensive filling in of the Klongs in Bangkok is brought back to life here - quasi in bonsai form! You can wander along winding gangplanks through boutiques built in typical Thai style, where exquisite and decorative regional and local arts and crafts products are offered for sale, or get your provisions from one of the many small boats sailing around, and you can even board one of them to experience the whole palaver from the river.

However, those who prefer to stay on the gangplanks find themselves quite suddenly at the Theud Theung stage in a veritable art exhibition with the illustrious name of 'Arom Thai', which loosely translated means something like "…a hint of Thailand". Here, 27 artists present their works. One is initially surprised to meet a few acquaintances, whose name we are already familiar with from the first article. First of all, there is Mana Yaprakham ('Artist Mana'), the 'Klimt imitator'. Among others, he is represented with an imaginative painting entitled 'Transience'. We also meet the two brothers Vasin and Wasan Suttikasem again. I already came across them as two representatives of the 'Thappraya Group' who had their first exhibition in Bangkok last year. You can read more about both later.

'Arom Thai' was opened on 21 February 2009 by no less a person than Pattaya's Mayor Khun Itthipol Khunpleum. The aim of its name is indeed to convey a "…hint of Thailand". The name is attributable to the initiative of a group of artists, who wanted to use the traditional ambience to aesthetically present Thai art and Thai heritage. With its title, the artists want to pick up on the history and culture of their country. And furthermore, 'Arom Thai' is not an art exhibition alone, but interested visitors are also invited to expand their knowledge and skills in special workshops in an exchange with representatives of the group of artists. For example in portrait or landscape painting, painting of fabric or even by learning different painting techniques, such as airbrushing.

I recall that Alan Kirkland-Roath, one of the organisers of the 'New Ecologies' exhibition at the Sheraton Pattaya Resort, wanted to see his campaign positioned in connection with other comparable events in Pattaya. There you have it Alan, this is the answer! "It is part of our policy to support everything that makes our city more attractive to tourists, that also includes art", announces Mayor Itthipol in the English part of his address in front of numerous spectators who did not let anything stop them from attending the opening spectacle which, among others, included a traditional dance performance, a dual between two sabre pros, as well as a life performance by an artist. In a brief interview, which he granted me afterwards, I asked him if his organizational structure for Pattaya included the person of a "Cultural Representative", as we actually know them from any city and community of noteworthy repute. His answer was that this mission was the responsibility of the 'Department of Education'. Among others, this also applied to sport as well as art and culture. Finally, I wanted him to tell me if he was familiar with the 'New Ecologies' art exhibition, which was still open until the end of April at the Sheraton Hotel and if no, he would be very welcome to come and take a look at it. The smart mid-thirties something Mayor agreed readily.

What the 'Arom Thai' exhibition does show, however, does not exactly match what I have been looking for these last few days, namely '…contemporary modern art' in Pattaya. Because ultimately it is this what goes to make an independent art scene. The question of how the artists deal with the questions and issues of the day should be at the forefront. Meanwhile, 'Arom Thai' shows pictures, which arose from a limited world of imagination. The artists lack the opportunity to compare what else is happening in the big wide world. Those who want to have a say in modern contemporary art today must be able to think and act globally. The works on show therefore correspond to painted folk music rather than hip-hop realized in form and colour. In this respect, the two brothers Vasin and Wasan Suttikasem more than anyone else buck the trend with their works. Reason enough to pay them a visit in their studio in Thappraya Road. Perhaps they can assist me in my search and even give me a tip or two.

I met them in the brand new showroom of their 'KC Space Art Gallery', where they were in the process of preparing for an exhibition of the Kleurn Samutr (Sea Wave) Group, established just two months ago. The exhibition opened on 1 March. Wasan, the younger of the two brothers, explains to me that the KC Space Art Gallery goes back to his father Kob Chai Suttikasem, who years ago also found fame and respect as an artist. Today, at the age of 63, he was retired. Wasan considered the 'Arom Silp Group', with their exhibition at the Pattaya Floating Market to be less of an independent group but rather artists who had come together by chance for the exhibition but were likely to go their separate ways again once it would be taken down.

The Kleurn Samutr Group, on the other hand, was different. They were all graduates of the Ratchamongkol - (Korat) or Poh Chang (Bangkok) College and had known each other for years. Each one of them had graduated with diploma. He personally had a Bachelor of Arts from the University of Rangsit, near Bangkok. "Many of the artists from our group had a humble upbringing. They know that one cannot get rich from painting but they love art and have therefore chosen this path nevertheless. Those who choose the profession of artist today must be prepared to make sacrifices.

My brother and I are fortunate enough that our father made it very easy for us along the way but we too can't live from "…contemporary modern art" alone. They still have to earn their money by producing superficial and agreeable pictures." In addition, continues Wasan, Thai people had only a limited interest in modern contemporary art. "Thailand is a country that is still in the development phase. It is the citizens of Pattaya who, through their interest, must play their part to ensure the delicate flower of an independent art scene can be developed further." With regard to his professional peers, Wasan criticizes that some of them were still doing too much of their own thing and don't look beyond their own nose. "We must give Pattaya a different and better direction." With the lively agreement of his brother Vasin, he adds: "In this respect we must thank Khun Manat Mepong, the CEO of the Pattaya Floating Market, for facilitating the exhibition there. That's precisely the right way to enhance the image of Pattaya."

After the opening event, the art critic Tony Godel calls the KC Space Art Gallery a welcome addition to the cultural scene in Pattaya: "It's an inspiring and exciting addition, in which one will in future be able to discover up-and-coming talent in Thai art."

One of the highlights during my search was without doubt the final conversation with Liam J O'Keeffe Ayudhkij, the owner of 'Liam's Gallery', the biggest and most important gallery in Pattaya. In addition to his successful career as an entrepreneur, the Irishman by birth who 46 years ago turned his back on his home country at the age of eighteen and is now a naturalized Thai, has dedicated his entire life to art. Today, he is considered one of the most committed sponsors of Asian art and is doubtlessly one of the top authorities on the art scene.

I meet him in his gallery in Soi 4 Pratamnak Road. The 5-storey building is filled to bursting with art from the ground floor up to the rafters. Asked about the size of his collection, he gestures appraisingly and says "… somewhere between 700 and 800 objects". Many of these were stored in an adjacent building or could be found in Bangkok, Chiang Mai and naturally also in Ireland. "There were in fact mainly three reasons that made me open the gallery three years ago. First of all, my strong desire to see my collection of pictures on display and on top of that I have a lot of time and may I finally say in all modesty and without appearing arrogant - I don't have to earn money anymore today."

As Chairman of 'Property Care Services (Thailand) Ltd.', which employs around 23,000 staff, Liam Ayudhkij is indeed the fifth biggest private employer in the country. When asked if there was an independent art scene in Pattaya, he responds without hesitation with a straightforward "no": "Pattaya was and continues to be the centre for reproduced art in Thailand. Those who want to earn a living solely from running a gallery for modern contemporary art in the city today are committing commercial suicide. I have begged my friends repeatedly for a long time, that if they spend five thousand Baht on a copy they could just as well invest this money in a painting by a young artist, but my pleas have generally fallen on deaf ears."

And what about freedom in art, I want to know from the person sitting opposite: "Artists in Thailand have all the freedom they need for their work of course…" he responds, "… even political paintings are no problem. I am currently in negotiations to shortly put on an exhibition in my gallery with nude pictures of women, men and even transsexuals. But one must simply recognise that many of the artists are still too much imprisoned by their own upbringing, which does not give them much leeway to experiment. I consider this a specific responsibility of those who teach 'art' at colleges and universities. They should encourage young artists to break new ground, to try out new things and to experiment. I have the impression the opposite is true in many cases. Students who ask too many questions are often considered rather troublesome."

According to Liam, many artists in the country were also naturally rather inclined to seek security and were therefore less willing to take risks. However, he too must make one qualification: "You know, for a Thai it's a given, but one should say it again when talking to a foreigner - the royal family is of course taboo, and there are boundaries too when it comes to religion." He describes the responsibility of artists as follows: "Young artists today must understand which trends in art are in fashion globally. Nowadays, art is part of our everyday life full of contrasting fortunes. Art is an essential part of a country's culture and its people and artists are, after all, their trendsetters."

However, what did apply to Pattaya did not apply to Bangkok, continues Liam. Here, he would want to talk about an independent art scene. "Look, among the younger artists, there are people like Natee Utarit for example, who primarily expresses himself abstractly, or even Thaweesak Srithongdee, whose chosen field is pop art. And finally Warawoot Intorn, who is rather more of an expressionist. Among older artists the two surrealists Thawan Dachanee and Chalermchai Kositpipat definitely stand out, while Vasan Sitthiket has devoted himself more to political commentary in his works." I am ashamed! While their names bubble from Liam's lips without him having to think about it at all, I am not even vaguely familiar with any of the names mentioned. Of course, Bangkok cannot be compared with the European or American market, but there are promising initial signs. "Give the country more time and Thai art too will become increasingly emancipated!"

I could have listened to Liam J O'Keeffe Ayudhkij for hours but I had already kept him far too long. As a parting gift he handed me a voluminous picture book published by Steven Pettifor in 2003 entitled 'Flavours - Thai Contemporary Art', which the watchful entrepreneur had financed. (Published by Thavibu Gallery Co. Ltd. Bangkok, First Edition 2003, ISBN 974-91737-6-7) It solely depicts works from artists of modern contemporary Thai art.

My search for an independent art scene in Pattaya ends with the third and last part. What exists in Bangkok to a much larger extent already is still barely managing to exist in Pattaya. Contemporary modern art is still in its infancy in the city. There is still a great lack of protagonists, such as the brothers Suttikasem, to ensure its further development. It still requires a lot of enthusiasm and staying power to work on it. And let's not kid ourselves, without the money from sponsors and without a broad interested public, any effort is fruitless. Nothing experimental can come from an environment that does not give its support to the courage and commitment of members of the avant-garde.

As a country, Thailand is a developing system, and its society is still in development. A population totalling 65 million people should produce more individualists than are currently known, who express their feelings about their environment and their impressions from everyday life through modern artistic means! In addition to committed idealists, like Alan Kirkland-Roath, and artists like the Suttikasem brothers, what is needed are many sponsors who will give modern Thai contemporary art a chance. But primarily it also requires open-mindedness and willingness in politics to encourage artists to continue on their chosen path, as currently embodied by Pattaya's committed young Mayor, Khun Itthipol Khunpleum.

The acquisition and public presentation of contemporary art in urban council offices would be one of many opportunities to provide active support. In addition, Pattaya is particularly lucky to have a sufficient number of locations where art could be presented in unusual settings, where the special ambience represents the actual attraction and art is provided quasi as an add-on. I'm not just thinking about the big international hotels, the theatre foyers of 'Tiffany' or 'Alcazar', but for instance also about the elegant shopping centres in the city, the Pattaya Floating Market or even the 'Pattaya Exhibition and Convention Hall' (PEaCH). Art exhibitions - definitive places to go for collectors of contemporary art in museum quality - can be found anywhere in the world. On 22 April this year, 'Art Cologne' one of the most important European exhibitions besides 'Art Basel' will be opening its doors. This will be followed in October by 'ArtSingapore'. This year, the 'London Art Fair' 2009 alone attracted a total of 21,700 visitors. What about an 'ArtThailand' at PEaCH in Pattaya for a change? Illusory? Those who don't believe in miracles are not realists!

A brief detour to Singapore enables me to look beyond the confines of Thailand at the Asian dimension of my question. During a visit to the 'Ode to Art' gallery in the Raffles City Shopping Centre, which has dedicated itself to contemporary Asian art, it became clear that other Asian countries are already a step ahead of Thailand. What was on show in the gallery here in terms of Korean, Vietnamese and even Chinese art, makes one sit up and take notice! Works by artists from Singapore too reflect their modern cosmopolitan orientation. Despite their own particular Asian touch, they were highly experimental not only in the application of different techniques but also in terms of creative presentation and related artistic methods.

Alan Kirkland-Roath will probably close his 'Gallery Opium' at the end of April 09. After four years of pioneering work in matters of contemporary modern art in Pattaya, the 62 year old wants to dedicate himself once more fully to his art as a 'watercolour artist'. He would like to make his expertise available to those who want to continue his work. However, only time will tell if there is a demand for it. One can only sincerely applaud the brothers Vasin and Wasan Sittikasem, who have opted to also become receptive to modern contemporary art, and must hope they have the necessary stamina not to be discouraged even in the event of set-backs.