PRESS
Surajate Tongchua: of Mountains and the Fragility of Power
A conversation with Surajate Tongchua on his artistic journey, the symbolism in his work, and his latest exhibition at Neu Contemporary Art.
Surajate Tongchua, There Are Only Color and Mountain. Credits: Neu Contemporary Art
Following his recent solo exhibition, There Are Only Color and Mountain at Neu Contemporary Art, we had the opportunity to chat with Surajate Tongchua about his latest body of work. This series uses the mountain as a metaphor for power, exploring its conflicts and, ultimately, its fragility.
Q : When did you realize you wanted to become an artist? Were there any artists who were particularly influential along your path?
A : I gradually realized I wanted to become an artist during my university years, while studying printmaking at Chiang Mai University. Back then, I began to see art not just as something to be learned, but as a way of thinking, a way of living, and a way of responding to the world. I was particularly drawn to minimalist and constructivist artists, as well as installation art. Their ability to convey complex ideas through simple forms resonated with me. I was especially impressed by how they used space and structure—something that continues to influence my work to this day.
Q : In your recent solo exhibition There Are Only Color and Mountain, mountains serve as a metaphor for power. Why did you choose this symbol?
A : This body of work explores mountains as overlapping and concealing symbols of power—much like how state structures and ideologies compete to dominate the landscape of thought. The colors in the work reflect the politics of symbols, each one playing a role in dividing, constructing identities, or challenging dominant powers at different moments in time.
Surajate Tongchua, There Are Only Color and Mountain. Credits: Neu Contemporary Art
Even though the outlines of the mountains appear solid, they are layered and fragile—just like power, which often seems stable but is prone to collapse. The bleeding or clashing of colors acts as a metaphor for the tension between centralized and decentralized systems of power. At the same time, the landscape composition—drawn from the aesthetics of Eastern painting—raises the question: are we seeing reality, or merely an illusion constructed to legitimize authority?
This work does not merely reflect power structures; it also seeks to reveal the presence of people who try to insert themselves into these dominated landscapes. It suggests that while authoritarianism may obscure democracy, change is always underway.
Q: Your work engages with different forms of power and their conflicts. Would you describe it as a political statement or more of a detached reflection on ongoing processes?
A: I think my work sits somewhere in between a political stance and a philosophical reflection. I don’t aim to deliver overt political messages, but I do believe art can create space for questioning and resistance. I’m particularly interested in how ideology operates—especially in the way power infiltrates everyday life, common sense, and what we accept as truth.
My use of landscapes and symbols is a quiet way of approaching these issues. Rather than offering answers, I prefer to leave questions lingering in the viewer’s mind.
A : I think my work sits somewhere in between a political stance and a philosophical reflection. I don’t aim to deliver overt political messages, but I do believe art can create space for questioning and resistance. I’m particularly interested in how ideology operates—especially in the way power infiltrates everyday life, common sense, and what we accept as truth.
My use of landscapes and symbols is a quiet way of approaching these issues. Rather than offering answers, I prefer to leave questions lingering in the viewer’s mind.
Q : Your work engages with different forms of power and their conflicts. Would you describe it as a political statement or more of a detached reflection on ongoing processes?
Surajate Tongchua, There Are Only Color and Mountain. Credits: Neu Contemporary Art
Q : The mountain appears in many of your earlier works as well. Has it always had this metaphorical meaning, or did its association with power evolve over time?
A: In the beginning, the mountains in my work had more emotional connotations. They stood for memories, longing, or even a kind of silence that I felt deeply connected to. But over time—especially after participating in an artist residency in Japan and closely observing the political context of Southeast Asia—I began to see the mountain more as a “structure” than a mere natural form.
It became a tool to talk about systems—whether systems of belief, control, or the legitimization of power. A mountain is always in front of us: clearly visible, yet not easily accessible. Its meaning in my work has evolved through personal experience and deeper contemplation.
Surajate Tongchua, Lying Mountains. Credits: 16albermarle
Q : While the mountain remains a central subject, your style and techniques have clearly evolved. How did you arrive at your latest approach in terms of painterly research?
A: My techniques usually follow the concept. When I want to emphasize “construction” or the building of power, I use thin strips of cut paper layered one on top of the other—like assembling a structure gradually and systematically. But when I want to express fragility or dissolution, I use ink and water, letting them flow and blur naturally, beyond my control.
I’m fascinated by the relationship between control and what resists control—how form and material can signify both stability and collapse at the same time. For me, materials are not just tools; they become an integral part of the message I’m trying to convey.
Q : Do you have any new projects planned for the future? Can you share any details?
A : I’m currently in the process of developing new project ideas. I’m particularly interested in using natural forms—such as mountains or waves—as metaphors for structural social issues, especially those that are fragile, invisible, or overlooked.
I’m also actively looking for artist residency opportunities, because I believe new environments always open up new perspectives in my work. My next body of work will likely continue to explore the tension between “form,” “structure,” and “belief systems”—themes that I’ve long been drawn to.
About Artist
Surajate Tongchua (b. 1986, Bangkok) is a Thai artist based in Chiang Mai. He earned his BFA in Printmaking from the Faculty of Fine Arts, Chiang Mai University, in 2010. His work has been featured in the Bangkok Art Biennale and numerous international residencies and solo exhibitions.
Surajate Tongchua, Lying Mountains. Credits: 16albermarle
For more info about Neu Contemporary Art and other Bangkok galleries and art institutions, check our Exhibitions section.
Author : Giovanni Quaglia