Anew negotiation - work by eight contemporary Thai artists

Thailand is notable for its traditional and highly skilled metalwork. This tradition is kept alive by the ethnic tribes in Thailand in particular the Karen who are well known for their silver jewellery. In more modern times Thai jewellers have worked successfully in the international cut and coloured stone market. Until recently artists who wanted to make contemporary jewellery found a lack of appropriate training facilities as well as a lack of modern art galleries to show their work. Artists interested in jewellery were trained in industrial design with an emphasis on design and process. To achieve a more focused art education they had to travel overseas. On their return from abroad this first generation of Thai expats set up new departments in universities and studio schools where they could pass on their knowledge. The artists in this exhibition at Bilk Gallery are from the second wave of young contemporary artists influenced by the Thai artists who have returned home. Among them is Atinuj (Atti) Tantivit, a jeweller who has set up the first contemporary gallery ATTA in Bangkok that specialises in contemporary jewellery.

The eight young Thai artists in the exhibition – Tantivit, Taweesak Molsawat, Vinit Koosolmanomai, Tithi Kutchamuch, Rudee Tancharoen, Apinya Boonprakob, Panjapol Kulpapangkorn, and Noon Passama – are conscious of the debt from the artists who have gone before them. Among them is a realisation that they still need to seek an audience for their work in Thailand where there is little knowledge or understanding of artist-produced contemporary jewellery. In addition they question the role if any that Thai culture has on their creative practice. In reality, while there are subtle Thai sensibilities apparent in the work of these eight young artists, they are also attuned to more universal concerns with identity, politics and society. In common with Australian artists they also question the role of the object in craft and more specifically what indeed constitutes the concept of jewellery.

Molsawat is perhaps the doyen of the group. His work and his performance art comes from questioning the very nature of jewellery to exist wholly as an object of beauty. In an early series of works the artist made hand ornaments of colourful metal filigree flowers. They were beautiful like the gold sheaths Thai dancers wear on their fingers but, like the sheaths, they prevent normal hand function. Questions for the artist remain open – is it enough for jewellery to be beautiful? Does it have to perform another function? Molsawat's medal on a bow is from the Dis/appear: Blurring Image between Cultural Hierarchy and Reality series and uses as its central motif a recycled Garrett popcorn bag. This is a Western snack, symbolic of the imported food that is replacing traditional Thai food – a cultural change that is having a detrimental effect on Thai agriculture.

Tantivit's work uses light wood because as she notes it sits better than heavy metal on the thin textiles usually worn by Thais. In works such as Siamese twins – Live and Learn the pinewood shapes are based on the outline of the map of Thailand. The artist picks up the colours of the Thai political groups and comments on the need for unity in light of the recent social divisions in Thai society.

Koosolmanomai's series of pastel-coloured ovoid brooches are found objects coated in shiny coloured silicon rubber. The series is called Rough Gems and perhaps is a gentle satirical comment on the prominence of precious gemstones in modern Thai jewellery. Kutchamuch looks at the found object from yet another viewpoint. Using the humble plastic spoon or fork she recasts it in silver turning it into organic and beautifully realised brooches of flowers and buds. Tancharoen's Untitled brooch is more abstracted with several arms like folded leaves. The brooch made of gold is ornamented with tiny stitches in a crimson silk thread which suggests the richness of Thai gold and silk woven textiles. Boonprakob's series of objects moves effortlessly between sculpture and jewellery and exist independently of being worn. Exquisitely made from gold and silver, they incorporate old Chinese filigree pieces into their little assemblages of old and new components.

Kulpapangkorn's work is related to a film made about an elderly lady called Wipha. Wipha has dementia but finds meaning in selecting jewellery of a certain colour for each day of the week. In Thailand days of the week have specific colours assigned to them based on mythology and astrology. A god is also assigned to each day so it is believed that wearing the appropriate colour will bring good fortune. This is perhaps what Wipha remembers. This film and a collection of gold and resin brooches made by the artist represents a sensitive and affecting relationship exploring Wipha's very personal connection with her jewellery collection and the pleasure it brings her.

Passama's enigmatic brooches from a series called Portraits are made from fur, leather and metal. In appearance they resemble stylised masks of animals and spirits not unlike those found in Thai mythology. Initially they seem cute, even comic but this initial impression is momentary and over time their presence becomes vaguely disturbing.

The Bilk Gallery, ATTA Gallery and curator Nikan (Bow) Wasinondh are to be congratulated on this exhibition and for the associated artists' talks which provided insightful comments on the development of the contemporary jewellery scene in Thailand.