XX. Reflection
Last part of an international solo on ”Lanna“ by Lim Siang Jin. This online exhibition, comprising 20 parts, is from May 6 to June 5, 2025
THIS EXHIBITION explores the symbolic power of colour and imagery as metaphors. I put emotion and meaning ahead of technical precision. Each image is also accompanied by narratives. The conversation between visual elements and text invites personal interpretation and emotional connection. Colours and form speak differently across cultures, sometimes saying more than words ever could.
Ancient warmth
IN THE caves of Wat Umong, I found ancient paintings that spoke of forgotten stories. The walls, though plain and worn, radiated history. I felt like I had stepped into a hidden world, and discussions of the past still lingered in the air. Though the colours have faded, in my mind, the walls were rich with deep reds and golds, glowing with wisdom and heritage. This warmth filled me with pride—in standing where generations before me once stood, leaving behind marks of their existence, preserving knowledge and tradition through the language of colour and art.
Sinister or superstitious?
ON THE grounds of Chiang Rai Contemporary Art Museum (CCAM), a sculpture caught my eye—The Angel of Maesai by Kraiwut Donjuk. Its face was serene, yet the story behind it unsettled me. Originally placed at the Thailand-Myanmar border, it was meant to beautify the area but became a source of superstition. Locals linked it to the devastating floods of 2024, demanding its removal. Its meaning had shifted, from art to omen. To capture this eerie transformation, I imagined it in pinks and greens. With such colours, it became haunting, its presence heavy with myth and fear.
Power of black & white plus
BLACK-AND-WHITE imagery with selective colour is a powerful visual tool. My curator encouraged me to explore this, emphasising emotions by isolating hues. This technique is featured in Schindler's List (1993), where Spielberg highlights a girl in a red coat against a monochrome backdrop of soldiers, symbolising innocence amidst horror. The effect intensifies meaning, guiding the viewer’s eye and deepening emotional impact. In this piece on the left, an elderly Akha woman, whom we met with her daughter, I added a dash of colour to emphasise her clothes.
For more information, click on links: Stephen Menon, O Art Space Gallery, Lim Siang Jin and his art, here and here. For a detailed acknowledgment, click here