Attending the “As if he were here” event at Bangkok Kunsthalle last Sunday felt less like a memorial and more like a gravity check. More than two decades have passed since we lost Montien Boonma in 2000, yet the “constellation” of Thai art—the curators, the artists, and the art lovers—still revolves around the void he left behind.
Curated by Mark Chearavanont, the pop-up exhibition showcased six “unseen” archival works spanning the decade from 1982 to 1992. Mark pointed out that Montien’s obsessions with the circle—samsara, unity, and repetition—wasn’t just a motif, but more a prophecy.
The Estate of Montien’s CEO Jumpong Boonma, the artist’s son and Managing Director Sabaiprae Mukdaprakorn, the artist’s niece, put together the event as a tribute to mark the birthdays of both Montien (February) and his wife Chancham (April). However, an equally vital objective was to raise funds for conservation.
“Montien Atelier has been open for eight years. During that time, we discovered previously unseen materials, such as sketches. These were brought together to form an archive, and Montien Atelier was opened as a space where people can visit, study, and conduct research.”
Several of Montien’s artworks, located at both the Montien Atelier and his private condominium, are currently awaiting systematic repair and conservation. The goal is to ensure these works remain in perfect condition for future generations to study. The Estate also plans to find a new location to store his works and to display Montien’s works currently kept in various spaces.
“This event is just the beginning of the future projects in our pipeline,” added Sabaiprae, replying to feedback that there should also be artworks from Chancham, who was also an artist.
The materiality of the soul
The exhibition showcases pieces from Montien’s personal archive, each marking a stage in his artistic development. “When Montien said ‘watercolor,’ he didn’t mean the paints most people think of,” said National Artist Somsak Chowtadapong, a friend of Montien and a fellow member of the WHITE Group. “Anything being dissolved in water would work for him,” he recalled, referring to the group’s very first exhibition in 1982.
That notion resonates with the works on display, such as the refined soil paintings. “In the untitled work made in 1991, the semicircular form evokes various ancient and human impressions: agricultural activities such as plowing and raking, or the movement of celestial bodies. But it also evokes a phenomenological sense of incompleteness of ‘becoming’ experienced in the temporal present,” the curator explained.
This obsession with the circle wasn’t just about form; it was about a meditative state. As Somsak noted during the talk: “Montien possessed exceptional technical skills, yet he consciously rejected conventional aesthetics. Instead of creating art from what is traditionally ‘beautiful,’ he sought to find beauty and dignity in the unconventional. He was a visionary who never stopped evolving.”
As if he were here
The seminar brought together those who worked directly with Montien before his passing and contemporary art historians. They exchanged perspectives on Montien as a pioneer, though they agreed there is no “absolute” way to categorize his work. For instance, while many view his work through the lens of Buddhism, some argue it transcends religious boundaries to touch on universal human suffering and healing.
What everyone agreed upon was his endless energy. “He refused to stay in France and chose to return to Thailand, saying that real artwork should come from ‘within’—it should be rooted in one’s own culture and environment,” Somsak recalled. Upon his return, he immersed himself in local materials and way of life. His early installation work in 1989 at the National Gallery remains evidence of this. He was a pioneer of installation art when the medium was still in its infancy in Thailand, working with materials unlike anyone else.
The talk also revealed his role as a professional instigator. Gridthiya Gaweewong, Artistic Director of the Jim Thompson Art Center, credited Montien with pushing her to pursue curatorial studies. “He even wrote me a recommendation letter,” she said. Later, she co-founded Project 304, an alternative art space, alongside Montien and Kamol Phaosavasdi.
“From day one, he never wanted to be anything but an artist,” Somsak added. Montien lived his life in full as an artist even from his sickbed, while simultaneously serving as a teacher and patron. To say he is remembered only for his art is inaccurate; he left behind an immense influence that continues to inspire the “constellation” of the present generation.
As Mark Chearavanont’s curation suggests, life isn’t a linear march toward an end. It is a cycle carried forward through the memories of his son, his students, and every artist who still hears his voice saying, “Keep doing it.”
