The striking collection of prints and paper cast sculptures—at times embellished with graffiti—reveal history’s fraught position between sanctums of the holy and mires of the profane. With print employed as the chief medium for inviting commiserations with his speculations, theimages take on a different incarnation from his prior paintings. While continuing to bear the gravitas of his considerations, the reproducibility of print suggests their urgent need for dissemination.

Utarit's practice is rooted in the interplay between Eastern and Western traditions, mirroring his personal journey through these diverse cultural landscapes.Central to Déjà vu is the concept of cultural hybridity and the negotiation of identity within hegemonic structures. Utarit’s work embodies a double vision—a reflection of his experience navigating Western art's influence on his Thai heritage. His meticulously detailed prints and layered symbolism act as palimpsests of cultural memory, where the past and present, East and West, collide.

The striking collection of prints and paper cast sculptures—at times embellished with graffiti—reveal history’s fraught position between sanctums of the holy and mires of the profane. With print employed as the chief medium for inviting commiserations with his speculations, theimages take on a different incarnation from his prior paintings. While continuing to bear the gravitas of his considerations, the reproducibility of print suggests their urgent need for dissemination.

Utarit's practice is rooted in the interplay between Eastern and Western traditions, mirroring his personal journey through these diverse cultural landscapes.Central to Déjà vu is the concept of cultural hybridity and the negotiation of identity within hegemonic structures. Utarit’s work embodies a double vision—a reflection of his experience navigating Western art's influence on his Thai heritage. His meticulously detailed prints and layered symbolism act as palimpsests of cultural memory, where the past and present, East and West, collide.

The striking collection of prints and paper cast sculptures—at times embellished with graffiti—reveal history’s fraught position between sanctums of the holy and mires of the profane. With print employed as the chief medium for inviting commiserations with his speculations, theimages take on a different incarnation from his prior paintings. While continuing to bear the gravitas of his considerations, the reproducibility of print suggests their urgent need for dissemination.

Utarit's practice is rooted in the interplay between Eastern and Western traditions, mirroring his personal journey through these diverse cultural landscapes.Central to Déjà vu is the concept of cultural hybridity and the negotiation of identity within hegemonic structures. Utarit’s work embodies a double vision—a reflection of his experience navigating Western art's influence on his Thai heritage. His meticulously detailed prints and layered symbolism act as palimpsests of cultural memory, where the past and present, East and West, collide.