{"id":4221,"date":"2019-05-22T15:49:54","date_gmt":"2019-05-22T15:49:54","guid":{"rendered":"http:\/\/www.artinbox.cz\/?p=4221"},"modified":"2019-05-28T14:24:52","modified_gmt":"2019-05-28T14:24:52","slug":"la-inthonkaew-slunce-s-mladaty-the-sun-and-her-cubs-15-5-4-6-2019","status":"publish","type":"post","link":"https:\/\/www.artinbox.cz\/?p=4221","title":{"rendered":"La Inthonkaew \/ Slunce s ml\u00e1\u010faty \/ The Sun and her Cubs (15. 5. – 4. 6. 2019)"},"content":{"rendered":"
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La Inthonkaew: \u017dena vstupuj\u00edc\u00ed do slunce, olej na pl\u00e1tn\u011b, 2018<\/p><\/div>\n

Artinbox Gallery a artbrut.cz V\u00e1s srde\u010dn\u011b zvou na v\u00fdstavu: \/ cordially invite you to the exhibition:
\nLa Inthonkaew<\/strong>
\nSlunce s ml\u00e1\u010faty \/ The Sun and her Cubs<\/strong>
\n(15. 5. – 4. 6. 2019)<\/strong><\/p>\n

kur\u00e1to\u0159i \/ curated by: Ond\u0159ej Sekanina, Jarom\u00edr Typlt <\/strong>
\nve spolupr\u00e1ci s \/ in cooperation with: Nadia Rovderov\u00e1, Terezie Zem\u00e1nkov\u00e1<\/strong><\/p>\n

Produkce: Lucie \u010cern\u00e1<\/p>\n

Fota obraz\u016f: Ond\u0159ej Pol\u00e1k, Marek Miler<\/p>\n

Kontrola anglick\u00fdch text\u016f: Jerald Wulff<\/p>\n

fotogalerie z vernis\u00e1\u017ee a instalace v\u00fdstavy k vid\u011bn\u00ed zde: https:\/\/www.facebook.com\/pg\/ArtinboxGallery\/photos\/?tab=album&album_id=2689820617757276<\/a><\/p>\n

Olejomalby a kresby thajsk\u00e9 autorky art brut La Inthonkaew jsou pozoruhodn\u00fdm sv\u011bdectv\u00edm o st\u0159etu jej\u00ed p\u016fvodn\u00ed thajsk\u00e9 kultury s nov\u011b p\u0159ijatou evropskou identitou. Spont\u00e1nn\u00ed mal\u00ed\u0159ka La Inthonkaew se narodila v roce 1980 nebo 1981 v rodin\u011b m\u00edstn\u00edho \u0161amana v mal\u00e9 vesni\u010dce na okraji d\u017eungle v centr\u00e1ln\u00edm Thajsku. Posledn\u00edch osmn\u00e1ct let \u017eije v Praze. Malovat za\u010dala v d\u011btstv\u00ed, vyu\u017e\u00edvala ka\u017ed\u00fd kousek pap\u00edru, kter\u00fd na\u0161la, barvy si vyr\u00e1b\u011bla z bl\u00e1ta a rostlin. Nikdy nem\u011bla \u017e\u00e1dn\u00e9 v\u00fdtvarn\u00e9 \u0161kolen\u00ed, o um\u011bn\u00ed se rovn\u011b\u017e nikdy nezaj\u00edmala. V roce 2010 za\u010dala malovat olejov\u00fdmi barvami sv\u00e9ho p\u0159\u00edtele na pl\u00e1tno, od t\u00e9 doby se stala tato technika jej\u00ed obl\u00edbenou. Motiv Slunce pat\u0159\u00ed v jej\u00edm d\u00edle k nejv\u00fdrazn\u011bj\u0161\u00edm symbol\u016fm. Jsou to \u00fatvary na pomez\u00ed Slunce a velk\u00fdch kv\u011bt\u016f. Nap\u0159\u00edklad na \u201eautoportr\u00e9tu\u201c z roku 2018 se k n\u00e1m nah\u00e1 mal\u00ed\u0159ka obrac\u00ed z\u00e1dy, aby do jednoho takov\u00e9ho kv\u011btu \u2013 slunce vstoupila a snad j\u00edm i pl\u00e1tnem pro\u0161la, jako Alenka skrze zrcadlo, na rub na\u0161\u00ed reality, odkud pro sv\u00e9 obrazy \u010dasto \u010derp\u00e1 inspiraci.<\/strong><\/p>\n

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Oil paintings and drawings by Thai art brut artist La Inthonkaew are a remarkable testimony to the connection between her original Thai culture and her newly adopted European identity. La Inthonkaew, a spontaneous painter, was born in 1980 or 1981 in a local shamanic family in a small village bordering jungle in central Thailand. She has been living in Prague for the last eighteen years. She started painting at a very early age, using every piece of paper she found, with paints that she herself prepared using mud and plants. She has never had any artistic education, she has never been interested in art. In 2010 she started painting on canvas using oil colours of her boyfriend \u2013 and this has been her favorite medium ever since. The Sun is one of the most distinctive symbols in her work. Many paintings by La feature shapes about which we cannot be certain whether they represent the Sun or a large flower, such as the \u201eself-portrait\u201c from 2018. On this painting, a naked female figure turns her back to us to enter such a flower-Sun, perhaps to pass through like Alice through the looking-glass, to the reverse of our reality, where she so often draws inspiration for her paintings.<\/em><\/strong><\/p>\n

K v\u00fdstav\u011b vych\u00e1z\u00ed stejnojmenn\u00fd katalog.<\/p>\n

v\u00fdstava je otev\u0159ena: \u00fat. – \u010dt.: 15 – 18 h. nebo po domluv\u011b
\nopening hours: tue – thu: 3 – 6 p. m. or by request<\/p>\n

Komentovan\u00e1 prohl\u00eddka v\u00fdstavy: 7. 6. 2019 od 18 hodin<\/p>\n

projekt podpo\u0159il \/ the project was supported by: St\u00e1tn\u00ed fond kultury<\/p>\n

\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n

Artinbox Gallery, Perlov\u00e1 3, Praha 1, www.artinbox.cz<\/a>, nadia@artinbox.cz<\/a>, Nadia Rovderov\u00e1: tel +420 777\u00a0748 433<\/p>\n

La Inthonkaew<\/strong>
\nSlunce s ml\u00e1\u010faty \/ The Sun and her Cubs<\/strong><\/p>\n

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La se narodila v mal\u00e9 vesni\u010dce na kraji d\u017eungle v centr\u00e1ln\u00edm Thajsku v roce 1980 nebo 1981. M\u00e1 thajsk\u00e9 ob\u010danstv\u00ed, ale jej\u00ed p\u0159edkov\u00e9 poch\u00e1zeli tak\u00e9 z Barmy, Laosu a \u010c\u00edny. Jej\u00ed tat\u00ednek byl \u0161aman, str\u00fdc byl proslul\u00fd buddhistick\u00fd mnich uct\u00edvan\u00fd pro sv\u00e9 z\u00e1zra\u010dn\u00e9 schopnosti a \u017eeny v jej\u00ed rodin\u011b byly tradi\u010dn\u011b porodn\u00ed b\u00e1by.<\/p>\n

Do \u0161koly La chodila pouze \u010dty\u0159i roky, p\u0159i\u010dem\u017e do centra vesnice doj\u00ed\u017ed\u011bla z rodn\u00e9 farmy na h\u0159bet\u011b sv\u00e9ho obl\u00edben\u00e9ho vodn\u00edho buvola a ze \u0161koly v\u017edy utekla oknem p\u0159ed koncem vyu\u010dov\u00e1n\u00ed, proto\u017ee se tam nudila. Po tragick\u00e9 smrti otce se rodina rozpadla a v jeden\u00e1cti letech se La ocitla sama s dv\u011bma mal\u00fdmi bratry, o kter\u00e9 se musela starat, a p\u0159itom je i sebe \u017eivila v d\u017eungli jako lovkyn\u011b a sb\u011bra\u010dka, aby p\u0159e\u017eili po n\u00e1sleduj\u00edc\u00ed dva roky.<\/p>\n

Pozd\u011bji La pro\u0161la \u0159adou manu\u00e1ln\u00edch zam\u011bstn\u00e1n\u00ed \u2013 pracovala nap\u0159. jako d\u011blnice na stavb\u011b, kucha\u0159ka, ukl\u00edze\u010dka, mas\u00e9rka a pronaj\u00edmatelka slune\u010dn\u00edk\u016f na pl\u00e1\u017ei.<\/p>\n

La m\u00e1 t\u0159i d\u011bti, p\u0159i\u010dem\u017e prvn\u00ed dceru porodila, kdy\u017e j\u00ed bylo patn\u00e1ct, a ve t\u0159iat\u0159iceti u\u017e byla dvojn\u00e1sobnou babi\u010dkou. V roce 2004, kdy\u017e byla na n\u00e1v\u0161t\u011bv\u011b u rodiny na Phuketu, m\u00e1lem zahynula p\u0159i tsunami, av\u0161ak tento traumatick\u00fd z\u00e1\u017eitek v n\u00ed z\u00e1rove\u0148 naplno otev\u0159el jej\u00ed mal\u00ed\u0159sk\u00e9 schopnosti.<\/p>\n

La za\u010dala malovat u\u017e v d\u011btstv\u00ed str\u00e1ven\u00e9m na thajsk\u00e9m venkov\u011b, kdy vyu\u017e\u00edvala ka\u017ed\u00fd \u00fatr\u017eek pap\u00edru, kter\u00fd na\u0161la, a sama si vyr\u00e1b\u011bla barvy z bl\u00e1ta a rostlin. Nikdy se j\u00ed nedostalo \u017e\u00e1dn\u00e9ho v\u00fdtvarn\u00e9ho \u0161kolen\u00ed a nikdy ji nezaj\u00edmalo um\u011bn\u00ed jako takov\u00e9. V roce 2010 v\u0161ak za\u010dala malovat olejov\u00fdmi barvami sv\u00e9ho p\u0159\u00edtele na pl\u00e1tno a tato technika se stala od t\u00e9 doby a\u017e do sou\u010dasnosti jej\u00edm obl\u00edben\u00fdm m\u00e9diem.<\/p>\n

La maluje s posedlost\u00ed a n\u011bkdy vytvo\u0159\u00ed i v\u00edce obraz\u016f b\u011bhem jednoho dne. Lze v nich spat\u0159it re\u00e1lie \u010desk\u00e9 i thajsk\u00e9 a ob\u010das je v nich i n\u00e1znak \u0161amansk\u00fdch vhled\u016f do jin\u00fdch dimenz\u00ed reality.<\/p>\n

V jej\u00ed tvorb\u011b se krom\u011b lid\u00ed objevuj\u00ed zv\u00ed\u0159ata, rostliny a houby, zejm\u00e9na muchom\u016frky. Neust\u00e1le se vrac\u00ed ke sv\u00fdm autoportr\u00e9t\u016fm. R\u00e1da maluje ve sv\u00e9 kuchyni, usazen\u00e1 thajsk\u00fdm tradi\u010dn\u00edm zp\u016fsobem na zemi. \u010casto maluje pozd\u011b v noci, proto\u017ee tvrd\u00ed, \u017ee se nikdy nebyla schopn\u00e1 p\u0159izp\u016fsobit st\u0159edoevropsk\u00e9mu \u010dasu.<\/p>\n

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Slunce s\u00a0ml\u00e1\u010faty<\/span><\/strong><\/p>\n

<\/span><\/strong><\/p>\n

Ond\u0159ej Sekanina, Praha 2019 <\/strong><\/p>\n

Slunce je v\u00a0d\u00edle thajsk\u00e9 mal\u00ed\u0159ky La Inthonkaew jedn\u00edm z\u00a0nejd\u016fle\u017eit\u011bj\u0161\u00edch motiv\u016f.\u00a0 Prvn\u00ed obrazy, ve kter\u00fdch Slunce hraje z\u00e1sadn\u00ed nebo dokonce hlavn\u00ed roli, poch\u00e1zej\u00ed ji\u017e z\u00a0roku 2010, kdy La za\u010dala malovat olejem na pl\u00e1tno. A jej\u00edm d\u00edlem se pak jako zlat\u00e1 nit vinou s\u00a0neutuchaj\u00edc\u00ed intenzitou a\u017e do sou\u010dasnosti.<\/p>\n

Slunce samo pro ni hraje d\u016fle\u017eitou roli ale ji\u017e od samotn\u00e9ho d\u011btstv\u00ed str\u00e1ven\u00e9ho na thajsk\u00e9m venkov\u011b, kdy j\u00ed jej\u00ed tat\u00ednek, m\u00edstn\u00ed \u0161aman, vy\u0159ezal ze d\u0159eva p\u0159\u00edv\u011bsek na krk v\u00a0podob\u011b Slunce, p\u0159es kter\u00e9 sk\u00e1\u010de ryba \u2013 co\u017e je motiv nabit\u00fd mytologick\u00fdm v\u00fdznamem v\u00a0\u0159ad\u011b m\u00edst na sv\u011bt\u011b, zejm\u00e9na ve form\u011b p\u0159\u00edb\u011bhu o slune\u010dn\u00edm hrdinovi, kter\u00fd je spolknut velkou rybou \u010di mo\u0159skou nestv\u016frou. Tento p\u0159\u00edv\u011bsek byl pro La velmi d\u016fle\u017eit\u00fd a nosila jej jako upom\u00ednku na sv\u00e9ho otce od jeho p\u0159ed\u010dasn\u00e9 smrti, kdy\u017e j\u00ed bylo sedm let, a\u017e do roku 2004, kdy vlna tsunami, ve kter\u00e9 m\u00e1lem zahynula b\u011bhem sv\u00e9 n\u00e1v\u0161t\u011bvy u rodiny na Phuketu, p\u0159\u00edv\u011bsek odnesla stejn\u011b jako spoustu jej\u00edch dal\u0161\u00edch osobn\u00edch v\u011bc\u00ed. Dodnes jej maluje a lze jej spat\u0159it na n\u011bkter\u00fdch jej\u00edch autoportr\u00e9tech.<\/p>\n

A v\u00a0souvislosti se slune\u010dn\u00edm zam\u011b\u0159en\u00edm t\u00e9to v\u00fdstavy lze zm\u00ednil i z\u00e1hadnou vzpom\u00ednku La na to, jak se o ni po jej\u00edm narozen\u00ed jej\u00ed maminka nemohla starat, proto\u017ee \u2013 d\u00edky jak\u00e9musi tajemn\u00e9mu \u017e\u00e1ru \u2013 si jej\u00ed maminka pop\u00e1lila ruce, kdy\u017e se j\u00ed pokusila dotknout.<\/p>\n

Nejzaj\u00edmav\u011bj\u0161\u00edm obrazem ve zde p\u0159edkl\u00e1dan\u00e9m souboru je bezesporu na prvn\u00ed pohled nen\u00e1padn\u00e1 malba Slunce kou\u0159\u00edc\u00edho skrze zvl\u00e1\u0161tn\u00ed soustavu trubek z roku 2010. Tento motiv toti\u017e p\u0159ekvapuj\u00edc\u00edm zp\u016fsobem koresponduje s halucinac\u00ed, kterou kdysi popsal Carlu Gustavu Jungovi jeden jeho schizofrenick\u00fd pacient. N\u00e1sledn\u011b Jung zjistil, \u017ee ona vize naprosto nevzd\u011blan\u00e9ho pacienta podivn\u011b v\u011brn\u00fdm zp\u016fsobem odpov\u00edd\u00e1 star\u00e9mu mithraistick\u00e9mu motivu slune\u010dn\u00edho boha generuj\u00edc\u00edho v\u00edtr z jak\u00e9si trubky, o kter\u00e9m schizofrenik nemohl m\u00edt sebemen\u0161\u00ed potuchy. A pr\u00e1v\u011b tato nepravd\u011bpodobn\u00e1 shoda p\u0159ivedla Junga podle jeho vlastn\u00edch slov k tomu, \u017ee zformuloval sv\u016fj slavn\u00fd koncept kolektivn\u00edho nev\u011bdom\u00ed.<\/p>\n

Na obraze Slunce generuj\u00edc\u00edho v\u00edtr od La Inthonkaew je p\u0159itom nejv\u00edce fascinuj\u00edc\u00ed to, \u017ee ani ona nev\u00ed nic o mithraismu nebo o Jungov\u011b hlubinn\u00e9 psychologii. V z\u00edsk\u00e1v\u00e1n\u00ed takov\u00fdch znalost\u00ed j\u00ed toti\u017e br\u00e1n\u00ed nejen jazykov\u00e1 bari\u00e9ra, ale i naprost\u00fd nez\u00e1jem o podobn\u00e1 t\u00e9mata evropsk\u00e9 kultury a historie. Obraz namalovala spont\u00e1nn\u011b a z vnit\u0159n\u00ed nutnosti, ani\u017e by vlastn\u011b v\u011bd\u011bla, pro\u010d jej tvo\u0159\u00ed.\u00a0 Av\u0161ak z\u00e1rove\u0148 se zd\u00e1, jako by t\u00edmto obrazem mimod\u011bk potvrzovala, \u017ee Jung m\u011bl se sv\u00fdm principem kolektivn\u00edho nev\u011bdom\u00ed pravdu. A \u017ee i ona sama je ob\u010das schopn\u00e1 si z t\u00e9to studnice v\u0161emi lidmi sd\u00edlen\u00fdch archetyp\u00e1ln\u00edch p\u0159edstav nabrat motiv pro sv\u00e9 malov\u00e1n\u00ed.<\/p>\n

Jin\u00fd p\u0159\u00edklad podivuhodn\u00e9 paralely s\u00a0jungi\u00e1nsk\u00fdmi vizu\u00e1ln\u00edmi symboly je malba \u010cty\u0159i kap\u0159i kolem \u010derven\u00e9ho slune\u010dn\u00edho v\u00edru z\u00a0roku 2017. Ta je pro zm\u011bnu t\u00e9m\u011b\u0159 identick\u00e1 s\u00a0malbou, kterou Jung vid\u011bl b\u011bhem sv\u00e9 cesty do Indie v\u00a0letech 1937-1938 na strop\u011b mah\u00e1r\u00e1d\u017eova pal\u00e1ce ve V\u00e1r\u00e1nas\u00ed. Kdyby ov\u0161em La o t\u011bchto prapodivn\u00fdch souvislostech sv\u00e9ho obrazu v\u011bd\u011bla, asi by ji nep\u0159ekvapily \u2013 poch\u00e1z\u00ed toti\u017e z kultury, kde se pod buddhistick\u00fdm povrchem skr\u00fdv\u00e1 st\u00e1le aktivn\u00ed \u0161amanismus, v jeho\u017e r\u00e1mci je existence jin\u00fdch dimenz\u00ed reality bez probl\u00e9m\u016f p\u0159ij\u00edmanou skute\u010dnost\u00ed, a to v\u010detn\u011b mo\u017enosti obzvl\u00e1\u0161\u0165 k\u00a0tomu nadan\u00fdch jedinc\u016f, tedy zejm\u00e9na \u0161aman\u016f, do nich nahl\u00ed\u017eet \u010di v\u00a0nich dokonce cestovat. A sf\u00e9ra kolektivn\u00edho nev\u011bdom\u00ed m\u016f\u017ee b\u00fdt snad pova\u017eov\u00e1na pr\u00e1v\u011b za jednu takovou neb\u011b\u017enou dimenzi reality.<\/p>\n

Slunce se ale na obrazech La Inthonkaew objevuje i v\u00a0mnoh\u00fdch jin\u00fdch souvislostech. \u010casto je na pl\u00e1tn\u011b samoz\u0159ejm\u011b p\u0159\u00edtomn\u00e9 jen coby sou\u010d\u00e1st pozad\u00ed. Ale i tam n\u011bkdy nab\u00fdv\u00e1 znepokojiv\u00fdch kvalit, jako je tomu nap\u0159\u00edklad na jej\u00edm kl\u00ed\u010dov\u00e9m Velk\u00e9m autoportr\u00e9tu z\u00a0roku 2010, na n\u011bm\u017e se zobrazila jako nah\u00e1 mal\u00ed\u0159ka p\u0159ed rozmalovan\u00fdm obrazem. A pr\u00e1v\u011b na tomto obraze v obraze je horizont vyveden do podoby jak\u00e9hosi vulk\u00e1nu \u010di vulvy, ze kter\u00e9 na nebe pomalu vyh\u0159ez\u00e1v\u00e1 \u010derven\u00e1 slune\u010dn\u00ed koule, svou barvou koresponduj\u00edc\u00ed s mal\u00ed\u0159\u010dinou paletou.\u00a0 Obraz nav\u00edc v\u00a0r\u00e1mci zmi\u0148ovan\u00e9 schopnosti La napojit se na jungi\u00e1nsk\u00e9 archetyp\u00e1ln\u00ed symboly podivuhodn\u00fdm zp\u016fsobem koresponduje s\u00a0kartou XI \u2013 Lust ze sady tarotov\u00fdch karet, kter\u00e9 namalovala britsk\u00e1 mal\u00ed\u0159ka Lady Frieda Harris podle instrukc\u00ed slavn\u00e9ho m\u00e1ga Aleistra Crowleyho v letech 1938-1943. Op\u011bt je t\u0159eba podotknout, \u017ee tyto karty La nezn\u00e1 a motiv se j\u00ed na obraze objevil zcela spont\u00e1nn\u011b. A p\u0159esto, i kdy\u017e m\u00e1 ka\u017ed\u00fd obraz jin\u00e9 pozad\u00ed, centr\u00e1ln\u00ed \u017eensk\u00e1 postava na obraze La zauj\u00edm\u00e1 zcela stejnou pozici jako ta na kart\u011b, p\u0159i\u010dem\u017e ob\u011b pozvedaj\u00ed ruku vzh\u016fru k\u00a0\u017ehnouc\u00ed \u010derven\u00e9 kouli. P\u0159itom \u017eezlo v\u00a0lev\u00e9 ruce \u017eeny na kart\u011b se pouze transformovalo ve \u0161t\u011btec v\u00a0prav\u00e9 ruce La na autoportr\u00e9tu a jinak oba p\u0159edm\u011bty ukazuj\u00ed zcela stejn\u00fdm sm\u011brem.<\/p>\n

Na \u0159ad\u011b pl\u00e1ten La lze pak naj\u00edt Slunce tak\u0159\u00edkaj\u00edc v hlavn\u00ed roli.\u00a0 Mezi nimi hraje v\u00fdznamnou roli rovn\u011b\u017e na t\u00e9to v\u00fdstav\u011b p\u0159edstaven\u00fd obraz V\u00edla se slune\u010dn\u00edm partnerem z\u00a0roku 2018, kter\u00fd op\u011bt jak\u00fdmsi jungi\u00e1nsk\u00fdm \u010di snad telepatick\u00fdm zp\u016fsobem p\u0159ekvapiv\u011b koresponduje s\u00a0dal\u0161\u00ed tarotovou kartou od Lady Friedy Harris, konkr\u00e9tn\u011b s kartou XIX \u2013 The Sun. Na obou obrazech je v\u00a0horn\u00ed \u010d\u00e1sti uprost\u0159ed Slunce (ve verzi La p\u0159ipom\u00ednaj\u00edc\u00ed kv\u011bt durmanu), zat\u00edmco ze dvou d\u011bt\u00ed s\u00a0mot\u00fdl\u00edmi k\u0159\u00eddly na kart\u011b se do obrazu La dostala pouze jedna postava.<\/p>\n

Tyto shody mohou snad b\u00fdt vysv\u011btleny t\u00edm, \u017ee tarotov\u00e9 karty byly navr\u017eeny \u2013 a\u0165 ji\u017e z\u00e1m\u011brn\u011b \u010di n\u00e1hodou \u2013 tak, aby co nejv\u00edce korespondovaly s\u00a0archetyp\u00e1ln\u00edmi obrazy.\u00a0 A mo\u017en\u00e1 pr\u00e1v\u011b takov\u00e9 obrazy, v\u00edce ne\u017e jin\u00fd vizu\u00e1ln\u00ed materi\u00e1l, maj\u00ed tendenci vyno\u0159it se na obrazech La, maluj\u00edc\u00ed ve stavu hlubok\u00e9 koncentrace, kterou sama ozna\u010duje buddhistick\u00fdm term\u00ednem pro meditaci \u201esam\u00e1dh\u00ed.\u201c<\/p>\n

Zvl\u00e1\u0161tn\u00ed skupinu maleb pak tvo\u0159\u00ed vyobrazen\u00ed temn\u00e9ho Slunce, co\u017e je coby \u201esol niger\u201c pro zm\u011bnu v\u00fdznamn\u00fd alchymick\u00fd symbol, i kdy\u017e ani t\u00e9to souvislosti si La sama nen\u00ed v\u011bdoma. Sem pat\u0159\u00ed zejm\u00e9na obraz Star\u00e9 Slunce ve strusce z\u00a0roku 2011, na kter\u00e9m vid\u00edme hn\u011bdo-\u0161edo-\u010derven\u00e9 vousat\u00e9 Slunce velmi \u00fazce koresponduj\u00edc\u00ed nap\u0159. s\u00a0obrazem III.1 \u2013 \u201eTemn\u00e9 slunce\u201c z\u00a0alchymick\u00e9ho spisu ze 16. stolet\u00ed Splendor Solis p\u0159ipisovan\u00e9ho Salomonu Trismosinovi. Jungi\u00e1nsk\u00fd v\u00fdklad vid\u00ed obraz jako symbol vnit\u0159n\u011b pro\u017eit\u00e9 jednoty smrti a obnovy v\u00a0p\u0159\u00edrod\u011b, co\u017e na obraze La je\u0161t\u011b podtrhuje mal\u00e9 slunce v\u00a0lev\u00e9m doln\u00edm rohu, le\u017e\u00edc\u00ed jakoby \u201ev n\u00e1ru\u010d\u00ed\u201c velk\u00e9ho vyhas\u00ednaj\u00edc\u00edho Slunce. To je rovn\u011b\u017e tmav\u00e9, proto\u017ee se naopak mo\u017en\u00e1 je\u0161t\u011b neroz\u017ehavilo. Malba je zaj\u00edmav\u00e1 d\u00e1le t\u00edm, \u017ee ve sv\u00e9 prvn\u00ed f\u00e1zi byla autoportr\u00e9tem La, a teprve pozd\u011bji v\u00a0pr\u016fb\u011bhu malby se centr\u00e1ln\u00ed \u017eensk\u00e1 postava zm\u011bnila ve vousat\u00e9 Slunce.<\/p>\n

A temn\u00e9 slunce se objevuje rovn\u011b\u017e na obraze Nierika z\u00a0roku 2014, co\u017e je jinak malba pod\u00e1vaj\u00edc\u00ed d\u016fkaz o telepatick\u00fdch schopnostech La, proto\u017ee n\u011bkolik prvk\u016f v\u00a0n\u011bm \u00fazce koresponduje s\u00a0jedn\u00edm obrazem indi\u00e1nsk\u00e9ho mal\u00ed\u0159e z\u00a0mexick\u00e9ho kmene Huichol, zn\u00e1roz\u0148uj\u00edc\u00edm peyotlov\u00fd kaktus a posv\u00e1tn\u00e9ho jelena Kajum\u00e1re, jeho\u017e reprodukci jsem dostal ten sam\u00fd ve\u010der, kdy La obraz malovala, a ona jej vn\u00edmala p\u0159esto, \u017ee n\u00e1s tehdy d\u011blila velk\u00e1 vzd\u00e1lenost.<\/p>\n

Slunce jsou na obrazech La p\u0159\u00edtomny i v\u00a0cel\u00e9 \u0159ad\u011b dal\u0161\u00edch situac\u00ed a kontext\u016f. Na n\u011bkter\u00fdch obrazech se vyskytuje Slunc\u00ed v\u00edce najednou, jako nap\u0159. na obrazu Slunce s\u00a0ml\u00e1\u010faty z\u00a0roku 2018, kter\u00fd dal n\u00e1zev cel\u00e9 t\u00e9to v\u00fdstav\u011b. Na obraze Hory a Slunce z\u00a0roku 2019 pak vid\u00edme centr\u00e1ln\u00ed slune\u010dn\u00ed kotou\u010d doprov\u00e1zen dokonce celou des\u00edtkou men\u0161\u00edch \u201ep\u0159\u00eddavn\u00fdch\u201c Slunc\u00ed, co\u017e m\u016f\u017ee pro zm\u011bnu b\u00fdt jakousi ozv\u011bnou v\u00fdchodoasijsk\u00fdch mytologick\u00fdch p\u0159edstav o tom, \u017ee kdysi v\u00a0d\u00e1vnov\u011bku bylo na obloze p\u016fvodn\u011b Slunc\u00ed v\u00edce (podle \u010d\u00ednsk\u00fdch p\u0159edstav nap\u0159. pr\u00e1v\u011b deset nebo dvan\u00e1ct), z\u00a0nich\u017e v\u0161ak v\u0161echny a\u017e na to posledn\u00ed byly nakonec z\u00a0nebe sest\u0159eleny.<\/p>\n

Na jednom velk\u00e9m form\u00e1tu potk\u00e1me slovansk\u00e9ho pohansk\u00e9ho boha Radegasta, kter\u00fd La zaujal patrn\u011b pr\u00e1v\u011b proto, \u017ee byl podle dostupn\u00fdch pramen\u016f \u2013 mimochodem stejn\u011b jako v\u00fd\u0161e zmi\u0148ovan\u00fd Mithra \u2013 rovn\u011b\u017e sol\u00e1rn\u00edm bo\u017estvem. Jinde m\u016f\u017eeme d\u00e1le pozorovat nap\u0159\u00edklad zlomysln\u011b se tv\u00e1\u0159\u00edc\u00ed Slunce zal\u00e9vaj\u00edc\u00ed ohniv\u00fdmi paprsky kv\u011btinu pod sebou. Na dal\u0161\u00edm tvo\u0159\u00ed Slunce pozad\u00ed ke kytici ve v\u00e1ze a je p\u0159itom doprov\u00e1zeno je\u0161t\u011b Venu\u0161\u00ed, o jej\u00edm\u017e p\u0159eletu p\u0159ed Sluncem v\u00a0dob\u011b namalov\u00e1n\u00ed obrazu informovala m\u00e9dia. Na jin\u00e9m, komorn\u011bj\u0161\u00edm obraze je pro zm\u011bnu z\u00e1hadn\u00e9 slune\u010dn\u00ed zv\u00ed\u0159\u00e1tko, jeho\u017e h\u0159\u00edva se rozb\u00edh\u00e1 modr\u00fdmi paprsky vyza\u0159uj\u00edc\u00edmi v\u0161emi sm\u011bry z jeho hlavy. Ale mezi vystaven\u00fdmi obrazy nalezneme nap\u0159. i \u201earcimboldovsk\u00e9\u201c Slunce komponovan\u00e9 z\u00a0ryb a jablek. V\u00a0neposledn\u00ed \u0159ad\u011b je v\u00a0d\u00edle La cel\u00e1 \u0159ada obraz\u016f, na kter\u00fdch se vyskytuj\u00ed \u00fatvary n\u011bkde na pomez\u00ed Slunc\u00ed a velk\u00fdch kv\u011bt\u016f, jako nap\u0159. na \u201eautoportr\u00e9tu\u201c z\u00a0roku 2018. Na n\u011bm se k\u00a0n\u00e1m nah\u00e1 mal\u00ed\u0159ka obrac\u00ed z\u00e1dy, aby do jednoho takov\u00e9ho kv\u011btu-slunce vstoupila a snad j\u00edm i pl\u00e1tnem pod n\u00edm pro\u0161la, trochu jako Alenka skrze zrcadlo, na rub na\u0161\u00ed reality, odkud pro sv\u00e9 obrazy tak \u010dasto \u010derp\u00e1 inspiraci.<\/p>\n

Ond\u0159ej Sekanina:<\/em><\/strong><\/p>\n

The Sun and her Cubs<\/span><\/strong> <\/strong><\/em><\/p>\n

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Text for the Exhibition in Artinbox Gallery<\/em><\/strong><\/p>\n

May – June 2019<\/em><\/strong> <\/em><\/p>\n

The Sun is one of the most important motives in the oeuvre of La Inthonkaew. The first paintings, in which the Sun plays a major or even lead role, date back to 2010 when La began painting with oils on canvas. Then they kept appearing in her artistic output, like a golden thread, with an unbroken intensity up to the present.<\/em><\/p>\n

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The Sun itself has played an important role for La since her childhood in the Thai countryside, when her father, a local shaman, carved a wooden pendant for her in the form of the Sun, across which a fish jumped \u2013 a motif charged with mythological meaning found in many variations around the world, typically in the form of a solar hero being swallowed by a gigantic fish or a sea monster.<\/em><\/p>\n

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The pendant was very important to La and she wore it, as a reminder of her father since his untimely death when she was seven years old, until 2004. That was when a tsunami, in which she herself almost died, took it away just like a lot of her other personal belongings during a visit with her family on Phuket. She still paints this pendant and it can be seen on some of her self-portraits.<\/em><\/p>\n

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Additionally, within this context of the solar focus of the present exhibition, an enigmatic recollection of La\u2019s is worth mentioning. This is that her mother could not take care of her when she was born as \u2013 due to some mysterious inner glow of La\u2019s body \u2013 her mother \u201cburned her hands\u201d when she tried to touch her.<\/em><\/p>\n

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The most interesting among the paintings presented here is undoubtedly the inconspicuous painting of the Sun smoking through a special system of tubes from 2010. The representation corresponds in a surprising way with a hallucination that was once described to Carl Gustav Jung by one of his schizophrenic patients. Subsequently, Jung found out that the vision of a totally uneducated patient was strangely similar to the old Mithraic symbol of the Sun-god generating wind from a kind of pipe \u2013 something that the schizophrenic could not have had the slightest idea about. This improbable coincidence led Jung \u2013 as he later admitted \u2013 to formulate his famous concept of the collective unconscious.<\/em><\/p>\n

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The fascinating thing about the wind-generating Sun is that La knows nothing about Mithraism or Jung\u2019s deep psychology. In fact, not just the language barrier, but also her complete lack of interest in similar topics of European culture and history prevent La from acquiring such knowledge. She produced the painting spontaneously and from inner necessity, without actually knowing why she painted it. But at the same time, it seems as if by this image she inadvertently confirmed that Jung was right about his idea of the collective unconscious; that even she is sometimes able to draw a motive for her painting from this well of archetypal images shared by all people.<\/em><\/p>\n

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Yet another painting with a striking parallel with Jungian visual imagery is of the Four Carps Circling around the Red Solar Whirlwind from 2017, which is almost identical to a painting on the ceiling of a Maharaja\u2019s palace that Jung saw in Varanasi during his trip to India in 1937-1938. He later included it in his book, \u201cThe Archetypes and the Collective Unconscious.\u201d However, if La knew about these strange contexts of her work, she would probably not be surprised. She comes from a culture where under the Buddhist surface there is still a very vibrant shamanism, in which the existence of other dimensions of reality is taken for granted, including the capability of gifted individuals, especially shamans, to perceive them or even travel within them. Here the realm of the collective unconscious might perhaps be considered just one of such non-ordinary dimensions of reality.<\/em><\/p>\n

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The Sun also appears in many other paintings of La Inthonkaew as well. Naturally, it is often present on a canvas as part of the background. But even there it sometimes acquires disquieting qualities, as is the case in one of her key paintings, the Big Self-Portrait from 2010, where she appears as a naked painter in front of an unfinished painting. This is a painting within a painting where the horizon is brought out into a kind of volcano or vulva, from which a red solar ball slowly slips into the sky; its color corresponding to the painter\u2019s palette. In addition, given the previously mentioned ability of La to reach the realm of the Jungian archetypal symbols, it needs to be pointed out that the painting corresponds in a remarkable way to the \u201cXI \u2013 Lust\u201d card of the Tarot painted by the British painter, Lady Frieda Harris, following the instructions of the infamous magician Aleister Crowley in 1938-1943. It is again worth noting here that La is ignorant of these cards and the motif appeared to her spontaneously. Yet in La\u2019s painting, despite different backgrounds, the central female figure assumes exactly the same position as the one in the card, both reaching upwards to the red, glowing fireball. The wand in the left hand of the lady in the card has just been transformed into the brush in La\u2019s right hand in the self-portrait, both of them otherwise pointing in exactly the same direction.<\/em><\/p>\n

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The Sun can also be found playing the main role in many of La\u2019s canvases. Among them, the Fairy with the Sun Boyfriend from 2018, also present in this exhibition, is worth mentioning because again, by some Jungian or telepathic means, it surprisingly corresponds with another Tarot card by Lady Frieda Harris: this time the \u201cXIX \u2013 The Sun\u201d card. Both pictures feature a central Sun (in La\u2019s rendition resembling a hell\u2019s bell blossom) in the upper half, while from the two butterfly-winged children in the lower part of the card only one has made it into La\u2019s painting.<\/em><\/p>\n

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These two coincidences perhaps can be explained by the fact that Tarot cards have been designed, whether intentionally or inadvertently, in such a way as to correspond with archetypal images as much as possible and perhaps those are more prone than other pictorial materials to surface in La\u2019s pictures when she is painting in a state of deep concentration, which she herself describes by the Buddhist meditation term \u201csamadhi.\u201d<\/em><\/p>\n

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A special group of paintings feature the image of the dark Sun which, as a \u201csol niger,\u201d is a significant alchemical symbol for change – although La is unaware of this too. These include, in particular, the Old Sun in Dross from 2011, which shows a brown-gray-red bearded Sun, closely related to, for example, image III.1 \u2013 \u201cThe Dark Sun\u201d from the 16th-century alchemical treatise Splendor Solis attributed to Salomon Trismosin. Jungian interpretation sees this image as a symbol of internally experienced unity of death and renewal in nature, which in La\u2019s image is underlined by a small Sun in the lower left corner, lying \u201cin the arms\u201d of the big fading Sun.\u00a0 It is dark as well, perhaps because it has not started glowing yet. This canvas is also interesting by the fact that in its first phase it was La\u2019s self-portrait, and only later during the painting process did the central female figure turn into a bearded Sun.<\/em><\/p>\n

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The dark Sun also appears in the painting named Nierika from 2014, which shows the telepathic abilities of La. Several elements in it closely correspond to an image by a Huichol Indian painter of Mexico, featuring a peyote cactus and the sacred Kayumare deer, a print of which I obtained the same night she painted the picture. She was able to perceive this – even though separated by great distance at the time.<\/em><\/p>\n

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The Sun is also present in many other situations and contexts within La\u2019s paintings. In some of her work, there are multiple Suns – such as the Sun and her Cubs from 2018, which gave its title to this exhibition. Also, in the Mountains and the Sun from 2019, we can see the central solar disc accompanied by no less than ten smaller \u201cadditional\u201d Suns, which may be a kind of echo of the East Asian mythological idea that once in ancient times there were more Suns in the sky (in the Chinese rendition, for example, there were originally as many as ten or even twelve of them); however, it supposedly followed that except for the last Sun, the others were ultimately shot down from the sky.<\/em><\/p>\n

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In one large painting, we meet the Slavic pagan god Radegast, who probably captivated La\u2019s imagination exactly because he was also a solar deity, according to available sources, just like the previously mentioned Mithra. Elsewhere we can see, for example, a wicked-looking Sun, pouring its fiery rays on a flower beneath it. In another painting, the Sun forms the background to a bouquet in a vase and is accompanied by Venus, whose passing before the Sun was reported by the media at the time of the painting\u2019s creation. On yet another, this time a more intimate picture, there is a mysterious Sun animal, whose mane forms blue rays radiating in all directions from its head. Finally among the exhibited paintings, we can also find an Arcimboldo-like Sun composed of fish and apples.<\/em><\/p>\n

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Last but not least, there are a number of paintings by La that feature shapes about which we cannot be certain whether they represent the Sun or big sun-like flowers, such as the exhibited \u201cself-portrait\u201d from 2018. On this, a naked female figure turns her back to us to enter such a flower-Sun, perhaps to pass through it and through the underlying canvas (a little bit like Alice through the looking-glass) to the reverse of our reality, where she so often draws inspiration for her paintings.<\/em><\/p>\n

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