Vipoo Srivilasa
The artist is excited by the monster theme. He said “Monster” is a fun theme, especially when teaching children.
“When I teach people who do not have a background in art, the monster is a theme without restrictions and brings positive energy to creators. If people create a human ceramic figure, it must have two eyes, two arms and two legs. The outcome must look human. However, monster figures can have as many organs as their creators want. After creators see the results, they feel happy with the creations,” said Vipoo.
Since Vipoo has lived in Australia for 25 years, his work is a perfect blend of cross-culture experiences. In “Monster”, he made characters from Thai folktales striking, quirky and whimsical figures in vivid colours. The artist said his work must be fun, happy and beautiful. As a result, characters like the ugly Horse-faced Princess and the terrifying Garuda and Naga were designed to be cute and fun figures.
“I took memories from childhood days and modified them into something new. In Thai traditional art, there are only male Garudas but I wanted to see how a female Garuda might look like. According to Thai folk tales, the Garuda and the Naga are enemies, but I wanted them to be friends and hang out together. The Horse-faced Princess was designed to be cute and sexy with the help of Playboy bunny ears. I was happy while working and I use my clay figures to spread happiness,” said the artist.
Vipoo Srivilasa was awarded the 2021 Ceramic Artist of the Year by the editorial staff of Ceramics Monthly, Pottery Making Illustrated and the American Ceramic Society, however, he has never stopped learning. In “Monster”, he used a new technique of Mexican clay sculpture called Tree of Life that he learned in an online ceramic workshop by The Ceramics Congress, of which he was the art director.
“Flower shapes are difficult to attach to the edges of the figures. Mexican ceramicists use high-temperature
nichrome wire to attach clay flower shapes onto a platform which can solve this problem. I tried this technique with Blossom Deity and A HorseFaced Deity in ‘Monsters.’ I tested this new technique with a kiln a couple of times before the results came out well,” said Vipoo.
Besides learning new techniques, the artist has been involved in charities and
community projects. Vipoo said he has always enjoyed participating in activities since he was young.
“Working with the community pushes me to meet people more since I work alone in a studio for five to six months. When I participate in a workshop and see people enjoy learning how to make ceramics, that makes me happy also,” he said.