Grand Opening by Juffy Joob and Soon Papan Exhibition includes original artwork by Juffy Joob and Soon Papan
IB Visual Arts Exhibition 2025
Ada Tugra Oluk
Alisa Studenkova
Ava Keller
Duana Lama
Elizaveta (Lisa) Burykh
Layla Man
Lily Barnett
Lola Varnier
Mila Cota
Thammatida Tunlayadachaparr
Thitiworada Boonla
Zhysha Prendergast
Zimya Sombat
Georgina Bayliss
Soon Papan
Juffy Joob
Easter Napassakorn
ADA TUGRA OLUK
IB Year 13 Visual Arts Exhibition
Living in Phuket for the past two years, I’ve developed a deep fascination with the interplay of control and freedom, struggle and surrender, and confinement and transcendence—both in life and art. I’ve come to see how external forces shape individuals, much like nature shapes its surroundings. Whether through societal constraints, personal ambitions, or natural elements, my work explores these tensions and reflects on how we navigate them.
IB Art became my avenue to communicate these ideas through diverse materials and techniques, blending influences from Romanticism, mythology, and philosophy. Using clay, oil painting, printmaking, and digital illustration, I crafted works that question boundaries—both physical and mental. In The Djinn of Greed, grotesque, organic forms depict a being consumed by desire, trapped in a cycle of hunger and excess. Its decaying structure illustrates how insatiable greed leads to self-destruction. Similarly, in Wings of Salvation, I sculpted an angel whose ethereal form is stifled by confinement, symbolizing the struggle for liberation against forces that restrain growth, inspired by Giacometti’s expressive textures and Romantic ideals of escape.
I structured my exhibition as a journey—from confinement and internal struggle to balance and flow. Early works like Agony in Form and Sons of Anarchy express resistance and suffering, with distorted human forms and rough textures emphasizing raw emotional turmoil. As the exhibition progresses, the perspective shifts from resistance to acceptance. The Spiritual Flow draws inspiration from Eugène Isabey’s Wreck of the Austria and surfing culture, using psychedelic patterns and yin-yang compositions to convey balance through surrender. Surfing becomes a metaphor: resisting the ocean’s force leads to destruction, but learning to move with the waves brings harmony. This philosophy extends beyond nature, encouraging viewers to consider whether they resist forces they cannot change rather than learning to adapt and grow with them.
My work is also influenced by mythology and storytelling. In Khan, I illustrate characters inspired by the Turkish Mythology Atlas, reimagining them as beings who transcend their original stories. This approach extends into animation, where motion and storytelling allow these figures to evolve beyond static representations. It ties back to my theme of breaking free from limitations—whether societal, historical, or personal.
The final section of my exhibition encapsulates coexistence and adaptation rather than restriction or struggle. Figures are no longer trapped or fighting against external forces but have learned to move with them. The contrast between the chaotic, agonized figures at the beginning and the more fluid, harmonious representations at the end illustrates a shift from conflict to understanding.
Ultimately, I want my exhibition to provoke thought on freedom, power, and adaptation. Rather than viewing struggle as something to conquer, I invite viewers to consider whether acceptance and understanding offer a more profound sense of liberation. Through varied materials, textures, and compositions, I aim to move beyond aesthetics into emotional and philosophical depth, creating pieces that tell stories and encourage reflection on the constraints we impose on ourselves and others.
THE FIGHT SONS OF ANARCHY
Oil Paint on canvas Size: 60 x 40cm August 2023
Oil on canvas Size: 70 x 50cm September 2024
THE SPIRITUAL FLOW AGONY IN FORM
Lino Cut Size: 42 x 59.4 cm December 2025
Ceramic Size: 10 x 8cm, 6 x 5cm, 10 x 6cm 2023
Ceramic Size: 30cm x 40cm 2024
Ceramic Size: 30cm x 40cm December 2024
Digital Size: 30cm x 30cm November 2024
Digital Size: 30cm x 30cm November 2024
THE DJINN
AGONY IN FORM 2
KHAN (ANIMATION CONCEPT)
KHAN
WINGS OF SALVATION
Ceramic Size: 35cm x 15cm January 2025
ALISA STUDENKOVA
IB Year 13 Visual Arts Exhibition
Ever since I was little, I’ve always imagined vivid scenarios in my head while listening to music, often placing myself in the lyrics of the song. For my exhibition, I wanted to bridge the worlds of music and art, allowing them to harmonize as they have always done for me. Every artwork in this collection is inspired by a song and reflects my personal experiences intertwined with that music.
The titles of the artworks correspond to the specific songs that played during the creation process, making each piece a visual representation of the emotions and narratives embedded within the music. These works explore themes of emotional trauma, growth, and love, reflecting on the complex emotional and psychological effects of toxic relationships, pain, and the long journey toward self-love and healing.
Through the symbolic use of color, objects, and figures, I convey stories of resilience and transformation. The compositions speak to both personal and societal challenges faced by women, as I draw on music to express deeper layers of these struggles. My art is a narrative of emotional turmoil and eventual recovery, a visual journey through pain and into empowerment.
The three pieces presented here illustrate different stages of recovery:
Artwork 1: Louise
Inspired by TV Girl’s song Louise, this piece captures the raw and visceral pain of being trapped in a toxic relationship. Red tones dominate the composition, symbolizing the intensity of emotional wounds, while roses and pearls represent innocence lost and bodies marked by the experience of being used. The black background reflects the silence and isolation that often follows trauma, a void where voices are stifled and emotions are buried. In Louise, I confront the suffocating nature of such relationships, highlighting the physical and emotional toll they leave behind.
Artwork 2: Capture Me
With Mitski’s Liquid Smooth as its inspiration, Capture Me addresses societal expectations placed on women, particularly the fixation on youth and fleeting beauty. The artwork explores the tension between innocence and desire through a contrasting color palette of blue and red. Pomegranates are featured prominently, symbolizing lost purity and youth—an allegory for the objectification and pressure women face as they age. This piece continues the exploration of emotional trauma, but begins to hint at a growing awareness of these external forces, paving the way for reclaiming personal agency.
Artwork 3: I Love Me More
Inspired by Marina’s song I Love Me More, this piece marks a turning point in the process of recovery. Shifting away from external relationships, the focus is now on self-worth and empowerment. The figure depicted wears armor, symbolizing the strength and resilience needed to protect oneself from further harm. Beneath the armor, however, is a flowing dress, representing vulnerability, compassion, and the balance between protecting oneself and remaining open to love. In this final artwork, I celebrate the culmination of healing—the journey toward self-love, where strength and softness coexist harmoniously.
Acrylic and fabric on canvas Size: 84.1 x 118.9 cm October 2024
Watercolor Size: 84.1 cm x 118.9 cm November 2024
Digital Size: 21 x 29.7cm eptember 2023 I LOVE ME MORE
Acrylic on canvas Size: 84.1 x 118.9 cm December 2024
LOUISE CAPTURE ME
PUNKTIR
DOVE I CAN TOUCH THE FLOOR WITH MY FEET
Digital Size: 21 x 29.7cm
December 2023
SWIMMING POOL
Digital Size: 42 x 59.4 cm
October 2023
Digital Size: 42 x 59.4 cm
January 2025
PATH
Pencil on paper Size: 84.1 x 118.9 cm
November 2023
REBEL
VR Drawing Size: 300 x 300cm September 2024
October 2024
Size: A4 September 2023
Ceramic piece, painted with acrylic Size: 30 cm/30 cm
Animation
OSTROV
SMELL YOU LATER
PROKURENII BALKON
AVA KELLER
IB Year 13 Visual Arts Exhibition
Having lived in Dubai for 16 years, I developed a profound appreciation for nature. However, in a city where the surrounding landscape often takes centre stage, my connection to the natural world gradually faded into the background. The more time I spent in an environment where nature seemed so distant, the stronger my desire to reconnect with it became. Every summer, when I travelled to SwitzerlandI felt a strong connection to the land—its mountains, lakes, and forests brought me comfort and peace. These annual trips were more than just holidays; they were a chance to reconnect with nature and spend time with my grandparents and family.
The theme of Biophilia reflects this strong, intrinsic bond with nature, and how, even when I am physically separated from it, I continue to feel its pull. Through my artwork, I aim to express how both nature and the concept of “home” are embedded within us, representing not only my personal experiences but also the broader, universal human connection to the environment that transcends geographical and generational boundaries.
Through this body of work, I seek to highlight the importance of this connection, encouraging viewers to reflect on how we, as a community, interact with the natural world. My summers in Switzerland were pivotal in reigniting this bond, and I hope my art will inspire others to view their environment as a network of interwoven connections.
For example, in ‘Lac Léman’, I employ lino printing to capture the essence of Lake Geneva, where childhood memories were shared with my grandparents. The technique of lino printing allows me to create a sense of permanence, effectively freezing these moments in time and symbolising the enduring connection between nature and family.
In contrast, ‘Petals of the Earth’ takes a more delicate approach. I collected flowers, pressed them, and encased them in resin to preserve their beauty. This process allowed me to symbolically ‘capture’ nature, preserving its fleeting moments of fragility. I want the exhibition to immerse viewers in a natural environment, enabling them to experience the artwork as part of a larger, cohesive narrative. The space will be inspired by the ‘A Golden Kiss’ exhibition in Bangkok, where the room will be set with artificial grass and flowers, and my photography pieces, ‘Threads of Nature’, will hang from the ceiling, creating an interactive experience as viewers walk through the space.
This exhibition preserves my deep connection with nature, even when I’m far from it, while also exploring the broader link between humans and the environment. Through my work, I aim to convey both my personal journey and the universal bond we all share with nature. By blending memories with collective experiences, I encourage viewers to reflect on their relationship with nature and recognise its role in shaping our identities and wellbeing. I hope this exhibition helps others see the world as an interconnected part of our lives.
Linocut Size: 42 x 59.4 cm December 2024
Resin and Found Natural Flowers Size: 100 x 100cm January 2025
PETALS & PONDS
Pottery Size: 15 x 15cm anuary 2025
IMPRINTS OF THE EARTH
Pottery Size: 30 x 30cm December 2023
LAC LÉMAN
PETALS OF THE EARTH
Photography Size: 42 x 59.4 cm x 3 September 2023
THREADS OF NATURE
Photography Size: 29.7 x 42.0 cm, 21. x 29.7cm, 14.8 x 21 cm October 2023
GOLDEN STORY
A PIECE FROM HOME
Pen, Resin and found Natural Flowers
Size: 42 x 59.4 cm
February 2025
ROOTS OF MEMORY
Etching, Collagraph Wax print
Size: 100 x 100cm
February 2025
ROOTS OF MEMORY
Etching, Collagraph Wax print
Size: 100 x 100 cm
February 2025
DUANA LAMA
IB Year 13 Visual Arts Exhibition
This exhibition is deeply personal, drawing from my childhood memories in Nepal and intertwining them with the narratives of my community. Through my work, I capture the emotions, places, and people that shaped my childhood, using textures, materials, and symbolism to recreate and express those experiences.
I incorporate materials and textures that hold symbolic weight, drawing from elements that represent Nepal, creating a rough, earthy rustic feel to my work which portrays the streets of Nepal, fragments of fabric that echo traditional textiles, and dripping forms that represent both struggle and continuity. The drips serve as visual metaphors for time, hardship, and transformation, mirroring how economic challenges trickle into daily life but never fully define it or the fading of memories.
Many of my pieces are inspired by the everyday scenes I witnessed growing up from the bustling markets and streets, the different economic and cultural standing, and the quiet resilience of people working tirelessly to build a life. I blend these memories with abstract forms and expressive textures to convey the emotions tied to them nostalgia, longing, and admiration for the strength of my community.
This exhibition is a way of preserving those fleeting moments from my past while telling a larger story about Nepal. Through my work, I aim to not only capture the nostalgia and familiarity of my upbringing but also highlight the socio-economic realities that shape my community. While struggle and hardship are ever-present, there is also an undeniable beauty that runs parallel found in resilience, cultural richness, and everyday moments of perseverance. By merging personal memory with collective experiences, I invite viewers to step into my world and experience the beauty and complexity of the place I call home.
SEE ME THE ONES LEFT BEHIND
Mixed Media Size: 70 x100 cm August 2024
Acrylic Painting Size: 60x 59cm October 2025
WHEELS OF LIFE LONG WAY HOME
Etching / Mixed media Size: 14.8 x 21 cm Sebtember 2024
Mixed media Size: 60 x 90cm August 2024
FOOTPRINTS OF YOUTH
Etching Size: 14.8 x 21 cm
Sebtember 2024
THE BLUE POPPY
Acrylic Paint - Acrylic Medium Size: 70 x 100cm
January 2025
ECHOES OF DISPARITY
Mixed Media Size: 30x 50 cm
February 2025
Paper Mache Size: 20 x 30cm January 2025
Size: 200 x 200 cm
March 2020
HOLY COW
Photography Size: 30 x 40cm Sebtember 2024
WALKS OF LIFE
Digital Size: 30x 49cm October 2023
Lino Size: 70 x 90cm February 2025
SADHUS AT PASHUPATINATH TEMPLE
THE WORN
ELIZAVETA (LISA) BURYKH
IB Year 13 Visual Arts Exhibition
Growing up on the Islands, I’ve always been surrounded by the ocean and nature. I spent my childhood on Sakhalin, a Russian Island near Japan. Later we moved to Phuket, which became my second home, where I am currently studying the IB Visual Arts program. Throughout my life, my family taught me a deep respect for nature and animals, which became a core part of my identity. This profound connection has shaped my artistic voice and serves as the foundation for my exhibition. Through my work, I explore the “Spiritual connection between humans and nature,” emphasizing the necessity of maintaining balance, respect and awareness of our place in the natural world. Through the IB Visual Arts course, I wanted to explore and perform the importance of our spiritual and physical bond with nature, as well as the consequences of losing this connection. I strongly believe that spirituality and imagination allow us to think beyond linear, skeptical mindsets. In my work I go against the idea of humans simply “existing” with nature. I explore its esoteric and emotional influence on us. This theme comes up in many of my pieces, such as my bas-relief “Moon Influence”, my linocut “Magical World”, my photography series “New Soul”, and my pottery works “Mountain Spirit” and “Enchanted Flower”.
Buddhism is the dominant culture in Thailand and it has also significantly impacted my spiritual views. It has deepened my respect for nature and my understanding of the balance we must maintain with it. This philosophy is particularly reflected in my piece “Dancing with Water,” inspired by Chinese artist Song Dong, his performance “Stamping the water”(QAGOMA) and his philosophy about art and nature. A special place in my heart belongs to the ocean and water. It has always been an integral part of my life and artistic journey. Many of my works center around the ocean - its power, beauty and the way humans interact with it. My pieces “Human Imprint” and “Consequence” address the issue of ocean pollution. The most emotional work in my exhibition was inspired by a tragic event I learned about when I visited my hometown Yuzhno-Sakhalinsk this summer. (Times) A group of volunteers worked hard for ten days to rescue seals trapped in fishing nets, ropes and plastic wastes. This event was widely discussed in the news and one quote deeply resonated with me: “Now she can feed her cub freely. The neck is, of course, deformed by a plastic cord, but her life is safe at present.” (Елена Алмазова) This moment deeply affected me and motivated me to create a photo series highlighting the devastating impact of human negligence on marine life “Consequence”.
In my artistic process, I constantly experiment with different media, as I am passionate about evolving as an artist. Many of my works are large in scale, yet highly detailed. This reflects both my personal artistic style and the grandiosity of the themes I explore. The combination of different materials and techniques allows me to deepen the meaning of each piece, demonstrating the fragile, however, powerful connection that we share with nature.
Through my exhibition pieces I want to remind people that humans are not separate from nature, but we are a part of it. Our actions, emotions and lives are interconnected with the environment, and this relationship is essential for our survival. By showing the beauty and vulnerability of this connection, I aim to encourage reflection on our responsibilities and inspire a change in perspective toward respectful and caring behavior to the natural world.
MAGICAL WORLD
Lino cut Size: 59 x 59 cm (round)
March 2025
DANCING WITH WATER
Photography Size: 42 x 59.4 cm x 2
February 2025
INFRANGIBLE CONNECTION
Etching Size: 29.7 x 42.0 cm
January 2025
NEW SOUL
Photography Size: 42 x 59.4 cm
April 2024
HUMAN IMPRINT
Multiple layers printing and screens
Size: 120x 80cm, 90 x 70cm , 100 x 80cm
Sebtember 202
CONSECUENCY
Photography Size: 29.7 x 42.0 cm August 2024
MOON INFLUENCE
Texture paste
Size: 100 x 100 cm (round canvas)
September 2024
ENCHANTED FLOWER
Pottery Size: 20 x 15, 15 x 25 cm
January 2025
Photography Size: 59.4 x 84.1 cm
December 2025
Pottery Size: 30 x 20cm
January 2025
WILD PART
MOUNTAIN SPIRIT
LAYLA MAN
IB Year 13 Visual Arts Exhibition
Spending the vast majority of my childhood growing up in Thailand, specificallyThailand specifically Phuket, I have had the privilege of experiencing the abundance of natural wealth the tropical island holds. Although being surrounded by scenic beauty has become routine to me, I am still aware that I am very fortunate with the quality of life I have been given. Although Phuket is a place millions of people visit each year in the pursuit of a luxurious holiday to enjoy the natural beauty and golden rays, it is also home to lots of economically disadvantaged communities. As I have gotten older the issue of poverty has become significantly more prominent to me as I am increasingly more aware of my surroundings. Young children not having access to school and parents not being able to provide adequate shelter for their families is a sight that doesn’t sit right with me as I don’t believe this is fair and we as an economically able community should be more proactive in supporting the community around us. For this reason, I decided to base my IB art around this issue to shed light on something that tends to be avoided.
Although poverty is a concerning issue within Phuket, a combination of the low cost of living and the large amount of natural resources allow for a large majority of the population to have a better standard of living compared to if they were living in another place. This is exhibited in ‘Nestled into the Wild’ where I used the vibrancy of the colour pencils to my advantage to achieve the lusciousness of the environment and the small hut in the corner which is a typical Thai house made out of cheap, accessible materials.
I wanted my exhibition to be displayed similarly to the way I explored the issue of poverty within Phuket. Initially, I was focused on the quality of infrastructure and the types of raw materials obtained to make the structures which can be seen in ‘resilient foundations’, ‘harsh realities’, and ‘materials of hope’. Exploring the materials was insightful as it is an area I hadn’t given much thought to and from this I was able to experiment with many different media pencils, etching, pen, and collages to see which was the best in creating the differentures. Progressively in my exploration, I started to focus on the hardship young children face when growing up without the opportunities of most children. This can be seen in the pieces ‘Sheltered by Flowers’ and ‘Blossoming’ where the children are the main focus of the pieces. Life for children is tough as they are given major responsibilities beyond their capabilities which can lead to overarching strain mentally and physically. Although this is true, children still possess the ability to have fun despite not having access to toys or material possessions. This enhances their creativity and resourcefulness which will allow them to craft useful solutions when they are older when navigating their way through financial limitations and could possibly enable them to break free of the cycle of poverty.
In the end, I want the viewers of my work to feel motivated and informed where they not only have become conscious of the matters regarding poverty however they also feel uplifted by the hopefulness for the future of young children living in poverty. Typically, poverty is portrayed as a dismal, glum subject however I want to change this narrative which I have done successfully through the integration of natural elements and saturated pigments. I think it is important to celebrate the demographic of people within poverty which is what I have done in ‘Thriving Women’ as although they are limited with money they are all able to come up with ways around this to support families and the intrinsic motivation from within is an attribute that deserves recognition which is a reason Ii focused my pieces on the issue of poverty. Producing these pieces with a specific target audience and goal in mind has allowed me to make more meaningful and impactful pieces that not only are visually appealing, also inform a greater message.
NESTLED INTO THE WILD
Colour pencil Size: 28 cm x 42cm
August 20203
RESILIENT FOUNDATIONS
Colour pencil Size: 28cm x 42cm
March 2025
BETWEEN TWO SHORES LAYERS OF REALITY
Pottery Size: 20cm x 40cm
March 2024
Etching Size: 25cm x 39cm
December 2023
ROOTS
January 2025
MATERIALS
May 2024
Pencil Size: 42cm x 60cm
Pencil Drawing, Photography Collage Size: 85cm x 120cm
OF HOPE
SHELTERED BY FLOWERS
Oil paint Size: 85cm x 120cm
January 2024
THRIVING WOMEN
Colour pencil Size: 60cm x 85cm
November 2024
Ceramic and Acrylic Paint Size: 25 x 30cm
February 2025
FLOURISHING
Purchased Screen, Pastel pencils and Acrylic paint Size: 90 x 129 cm
January 2025
SAMBA
LILY BARNETT
IB Year 13 Visual Arts Exhibition
Being in an international school my whole life I have been accustomed to encountering distinct cultures and people of different origin which has given me a unique perspective in appreciating cultures other than my own. Having a particular interest in pursuing a path within architecture in the future, I found myself especially appreciating the ornate details contained within Thai architecture that I was surrounded by. However, considering the points above, this then inspired me to venture into different cultures and explore the significance behind design choices and also what connects them together, blending functionality and aesthetics.
From this interest, IB visual arts served as a medium in which I could explore the combination of cultural identity and architectural design through symbolism, motifs, locations, religion etc. Utilizing various techniques such as ink pen, colour pencil, etching, clay, plaster, and wire, allowed me to enhance the meaning of each piece creating debt within the material and symbolism behind it. For example, I used an 0.05 ink pen in my “A Thai Journey” piece to carefully depict the individual details and consider the small aspects to then create an overall fuller look that the audience can then take a closer look at and discover new ideas within the piece. Contrastingly, I used mixed media in my “Fragments of Civilization” piece with intentionally shattered ceramics mimicking traditional Chinese porcelain and a wire tree to focus on items that enhance and compliment architecture rather than just the buildings itself, combining the ideas of nature and history of architecture.
I wanted my exhibition to portray a journey of discovery through various cultures and often time I use the evolution of time to show this journey, also within some pieces I also combined nature because during the creation of my artworks I noticed that there was correlation between architecture and nature and often time they overlapped with each so naturally it was integrated within the cultures. The first piece I decide to display is “Femina Ionicum” this decision is not only based on the fact that it focuses on neoclassical architecture serving as a solid foundation of architecture which is widely recognized as a key concept prompting innovative design, it also serves as a beginning point of my journey as an artist as it was the first piece of IB artwork that I created where I discovered my skill set and enjoyed using pen as a medium. Next, I chose to display the “Hōryū-ji temple” , a colour pencil piece which highlights the beauty of Japanese architecture that, similar to the first piece, has managed to sustain itself through time combining harmony with nature and architecture. Succeeding, is “Fragments of Civilization” which begins to show the cracks of these ancient civilizations, this is a complementary decoration of architecture which merges nature in an explicit way portraying the message nature will always be around even after architecture is broken. Similarly, “Evolution of Ancient Egypt” acts as a transitional piece that shows the evolution of industrialization and development in societies in negative and positive light. Next is my biggest piece, “A Thai Journey” which connects to my own culture showing the different periods of Thai architecture all paying homage to the preceding structures. Complimenting this is “Chakra Illusions” which takes the aspects of “A Thai Journey” and creates an optical illusion based on progression of society and possibly the blurring lines between reality based on modern issues. Now is “Canal Reflections Animation” which uses a modern medium of animation and brings together the nature of the bird and the watercolor architecture.
In the end I wanted to finish off with an overall evolution of architecture as a whole looking at the key transitional periods and eras of these designs with a plaster piece called “Layers of Architecture” telling a story on how design can shift as technology and humans evolve while always referring back to nature. This exhibition sequence explores an architecture development narrative and a journey through time and design encouraging the audience to reflect on architecture they see everyday and the classics that inspired it.
FEMINA IONICUM
Ink Pen
Size: 21.0 x 29.7 cm
September 2023
CANAL REFLECTIONS ANIMATION
Digital Animation Size: 29.7 x 42 cm
October 2023
HŌRYŪ-JI TEMPLE
Colour Pencil Size: 29.7 x 42 cm
December 2024
FRAGMENTS OF CIVILIZATION
Mixed media Size: 40 x 35 x 30 cm
February 2025
Ink Pen Size: 60 x 110 cm
February 2025
EVOLUTION OF ANCIENT EGYPT
Ceramic Size: 30 x 30cm
January 2025
THAI JOURNEY
LAYERS OF ARCHITECTURE
Plaster
Size: 31cm x 31cm x 34cm
March 2025
Etching Size: 23cm x 28cm February 2025
CHAKRA ILLUSIONS
LOLA VARNIER
IB Year 13 Visual Arts Exhibition
“I am love. I am pleasure, I am essence, I am an idiot, I am an alcoholic, I am tenacious. I am; simply I am...” - Frida Kahlo. As the youngest of three and the only daughter in my household, I have always questioned what sets me apart from my siblings. This reflection led me to explore how individuals, despite shared upbringings, develop distinct identities and philosophies shaped by personal experiences and traits.
I realized that my experience as a girl has profoundly shaped my understanding of myself. In a world overflowing with information and constant comparison, navigating one’s identity can be overwhelming. We often lose sight of ourselves as we absorb external influences, making it difficult to cultivate authenticity.
This is why I draw inspiration from strong, influential women who embody resilience and self-discovery. Through their struggles and strength, I found my own voice. My exhibition creates a space where audiences can understand the profound causes these women stand for, as well as their individuality across cultures, eras, and disciplines.
My early work centers on well-known figures. Sade’s Kiss of Life reflects my childhood environment—vibrant, cultured, and rich with artistic expression. Learning about Frida Kahlo as a child taught me how suffering could be transformed into art. Inspired by her connection to nature, I created a second piece reflecting Phuket’s lush flora, my current home.
I then explored the complexities of visibility and judgment. In The Muse, I depicted Kate Moss, who remained true to herself despite relentless media scrutiny. She transcended public labels, showing that authenticity prevails over imposed perceptions. Mother of Humanity shifts focus to Mother Teresa’s humanitarian work, emphasizing gratitude for health and security—things we often take for granted. I wanted this piece to mark a transition into the exploration of local figures in Thailand.
In The Naga in the Belly of the Beast, I highlighted Thai activist Chantawipa Apisuk’s fight for women’s rights in the country’s tourism industry. She acts as a guardian against exploitation, symbolizing protection and hope. I then turned inward with Every Woman Every Body, an homage to female artists and a recognition of the changes a woman’s body undergoes through life. It critiques commodification and societal ideals, showing how these pressures distort self-perception.
The Wake-Up Call, composed of photographs taken during my commute, confronts the audience with the pervasive impact of these societal pressures on women’s lives. Finally, It is Just Flesh strips everything back to the raw reality of being human. After a lifetime of trying to fit impossible ideals, we are, at our core, flesh and bones. The exhibition concludes with Authentically Me, a piece symbolizing rebirth and self-reclamation. After shedding external expectations, we are free to reinvent ourselves and pursue our true essence.
Ultimately, my work reflects the ongoing struggle of self-discovery and acceptance. By portraying both public figures and personal reflections, I hope to inspire viewers to question societal pressures and embrace their authentic selves. Through this artistic exploration, I want to show that true liberation comes not from fitting an ideal but from owning our complexities and contradictions.
SADE’S KISS OF LIFE
Acrylic on Canvas Size: 110cm x 70cm October 2023
I AM THE PERSON I KNOW BEST
Pottery Size: 50cm x 50cm November 2023
THE MUSE MOTHER OF HUMANITY
Acrylic on Canvas Size: 200cm x 100cm January 2024
Mixed Media Size: 100cm x 60cm April 2024
Oil on Canvas Size: 220cm x 130cm September 2024
EVERY WOMAN EVERY BODY AUTHENTICALLY ME
Pottery Size: 30cm x 10xm x 30cm January 2025
Oil on Canvas Size: 50 x 40 cm March 2025
THE NAGA IN THE BELLY OF THE BEAST
THE WAKE-UP CALL
Digital collage Size: 29.7cm x 42.0cm
December 2024
Wax and Oil on paper Size: 75cm x 21cm
February 2025 IT IS JUST FLESH
MILA COTA
IB Year 13 Visual Arts Exhibition
Emotions shape our lives, guiding how we navigate challenges. When left unexpressed, they can manifest as bad habits, stress, and disconnection. My exhibition explores how these habits affect mental and emotional well-being, creating internal and external chaos. By capturing both personal and universal struggles, I hope to prompt viewers to reflect on their own habits and the impact on their lives.
During my time in the IB program, I faced academic pressure, high expectations, and the growing influence of technology. These themes appear throughout my work, primarily through portraiture and expression. To create coherence, I chose a black frame and white mount for each piece, ensuring the focus remains on the artwork’s message.
The exhibition unfolds like an emotional journey. It begins with Chipping Away, a colored pencil piece depicting nail biting as a response to stress, with red hues symbolizing constant pressure. This transitions into Neglect, which illustrates the isolation caused by excessive screen time. The emotional toll of disconnection intensifies in Tearful Gaze, where a single tear symbolizes vulnerability and the consequences of neglecting mental well-being.
The focus then shifts to relationships and digital addiction. Disconnected Connection, a clay sculpture, portrays a mother physically separated from her child by a pot, emphasizing the emotional barrier technology can create. In Digital Addiction, my largest acrylic painting, dull, drained adults glued to their phones contrast with a vibrant, overlooked child, showing how screens fracture human connection.
This disconnection spirals into overwhelming emotions and chaos. The Procrastination Spiral visualizes the mental and physical disorder caused by avoidance, with fragmented figures and scattered objects symbolizing stress. The cycle culminates in Trapped Within, a clay sculpture of an isolated figure consumed by their own thoughts, physically and emotionally stuck in bed. The imprint on the pillow represents a loss of self.
The exhibition closes with Disarray, where a chaotic environment reflects the external manifestation of internal turmoil. Scaling up the piece immerses viewers in the overwhelming experience of emotional struggle. This final piece challenges societal pressures, reminding viewers that imperfection and chaos are natural parts of life.
By arranging my work in this sequence, I aim to take viewers on a dynamic exploration of stress, disconnection, and emotional turbulence. My exhibition is a reflection of the habits we form, the emotions we suppress, and how we cope with modern life. Through my art, I hope to create a space for connection, introspection, and shared understanding, encouraging viewers to confront their struggles and embrace their humanity.
TEARFUL GAZE
Colour pencil Size: 29.7 x 42 cm September 2023
CHIPPING AWAY
Colour pencil Size: 21 x 29.7 cm April 2024
DIGITAL OBSESSION
Colour pencil Size: 21 x 29.7 cm February 2024
DISARRAY
Photography Size: 21 x 30cm x 6 February 2025
THE PROCRASTINATION SPIRAL
October 2024
DIGITAL ADDICTION
on canvas Size: 100 x 130cm January 2024
Acrylic
Acrylic Paint Size: 30 x 50cm
TRAPPED WITHIN
Ceramic Size: 21 x 30cm December 2024
DISCONNECTED CONNECTION
Ceramic Size: 100 x 130cm December 2024
THAMMATIDA TUNLAYADACHAPARR
IB Year 13 Visual Arts Exhibition
Marine life has always fascinated me because of its beauty and role in maintaining our ecosystem. However, as I have lived in Phuket for the past five years, I have seen our ecosystem degrade due to neglect. The underappreciation of marine life has made me sad. Many pieces in this exhibition relate to environmental issues, which are connected as our ecosystem is complex and interconnected. “Corals on Whale” perfectly portrays this concept. I have used other artworks such as “The Last Corals” and “Fragile Beauty” to capture the environmental impact. I want my audience to see how small changes can impact the system, as the ecosystem is interconnected. “The Last Coral” is a sculpture that embodies the corals that are being planted by humans in the man-made environment as the real ocean can no longer sustain them anymore because of the rising temperature. The details that capture the actual information about corals suggest how humans have enough ingenuity to plant corals in the non-immediate nature of corals but can not take care of the real corals in the ocean. Meanwhile, “Fragile beauty” suggests the fragility and beauty of corals through colourful beads, which have less detail.
In addition, I have always perceived marine life as one of nature’s most incredible beauties. Whales, in particular, have always been my favourite animals because of their majestic appearance. Their massive size reminds me of a quote from a book: “It takes so much for us to feel big in this world, but it only takes the sky to make us feel small.”
In Whale in the Sky, the whale represents humans who see themselves as powerful, yet they seem insignificant compared to the vast sky. I chose the sky instead of the ocean as the background because it is an unfamiliar environment for a whale. Exposure to the sky would likely leave the whale in awe of its vastness—just as humans often fail to realize how small they are in the grand scheme. Furthermore, a whale may not even be aware that the sky exists, much like how some people remain unaware of their insignificance in the universe.
In my exhibition, I deliberately chose to use simple frames for my pieces. I want to keep the audience’s attention to my artwork and not be distracted by framing or embellishment. Additionally, I grouped four art pieces in the middle, which are “Corals on Whale,” “Fragile Beauty,” “The Last Coral,” and “ “Live and Lost,” close to each other. This is because all of these works are associated with environmental issues. Each work being close to each other shows that one change can cause multiple impacts on the ecosystem. By placing these pieces at the centre, I decided to guide the viewer and have them pay attention to my piece, which I hope to evoke the feeling of hope to protect our ecosystem. Other pieces that do not have a meaning connected to environmental issues will be placed in the corner because I want to highlight the importance and urgency of environmental issues.
Colour pencil Size: 21 x 29.7cm
December 2023
Fountain pen Size: 50x30 cm
January 2025
WHALE IN THE SKY
ECHO OF WATER
BENEATH THE WAVE
Colour pencil
Size: 40x40 cm
March 2025
DISJOINTED LIFE
Ceramic Size: 30x15 cm
December 2024
FRAGILE BEAUTY
Embroidery Size: 6 inch hoop April 2024
LIVE AND LOSS THE LAST CORAL
Watercolour and black pen
Size: 60x 50 cm June 2024
DRIFTING WORLD
Black pen Size: 50x30 cm February 2025
Ceramic Size: 20x30 cm September 2024
FRAGMENTS OF THE DEEP
Etching Size: 14x20 cm February 2025
THITIWORADA BOONLA
IB Year 13 Visual Arts Exhibition
My artwork explores themes of Psychedelics in ways of spirituality, energy, and imagination. I became interested in these ideas after overcoming a mental situation. This journey made me see life differently, both during and after my experiences. My work reflects my personal growth, emotions, and understanding of the world. Many of my pieces are inspired by Buddhims, as well as my own face and memories. Each artwork represents different aspects of my life and how I connect with the world.
“The Buddha” represents the values of calmness and kindness in daily life. Featuring the Buddha in my work symbolises mindfulness and inner peace. I included a flower Zentangle design, which promotes focus relaxation. Both zentangle encourage a gentle way of living, reminding us to connect with ourselves and others. “Blooming Harmony” expresses the beauty of nature and its ability to heal the human spirit. The handmade paper flowers and fake flowers create a vibrant is crafted with care, showing patience and dedication throughout the creative process.
“Youngest Daughter” is based on my childhood photo and explores both memories and imagination. The bright colors and anatomy inspired patterns represent my journey of growing up and self discovery. The third eye symbolizes spiritual awakening and a deeper understanding of the world as I get older. And “Painting” is inspired by psychedelics and explores a surreal and imaginative world. It features vivid colors, complex patterns, and a sense of freedom. Through this artwork, I want to invite viewers to see beyond everyday reality and embrace limitless creativity.
“Out of Sight, Out of Mind” represents self awareness and the mind’s possibilities. It explores the balance between inner peace and imagination. Through this piece, I reflect on personal growth, self reflection and creative expression. “Spirit Awakening” is a series of paintings that explore my connection with energy, nature and perception. Each piece represents the unseen forces that shape my emotions and understanding of life. I use color, movement, and form to capture the flow identity. It combines realism with imagination, creating a unique and unexpected composition. The multiple facial elements of “Two Faces” this piece was created as an exploration of emotions, perception, and identity.
I intended to sculpt by incorporating multiple facial elements to evoke curiosity and interpretation.
“Mental confusion” experiments with structure, texture, and materials. I used newspaper and other materials to create an organic and dynamic shape. It reflects the feeling of mental confusion and explores how materials interact and transform through art. “Calmness” combines human features with vessel like structures exploring form, symbolism and craftsmanship. The twisted handles and coiled patterns add movement and texture. It reflects my interest in turning everyday objects into expressive and imaginative forms.
“The Lost Kingdom” is inspired by the ancient city of Ayutthaya, Thailand. I aimed to capture its rich history, traditions, and spiritual essence. Through this piece, I honor the past and its deep cultural significance.
Acrylic on canvas Size: 75 x 100 cm
March 2024
fabric (Self made paper flowers and fake flowers Size: 175 cm
April 2024
YOUNGEST DAUGHTER PAINTING
on paper Size: 29.7 x 42 cm
December 2024
Color pencil on paper Size: 29.7 x 42 cm
June 2024
Satino
THE BUDDHA BLOOMING HARMONY
Acrylic
OUT OF SIGHT, OUT OF MIND
Digital Animation
Size: 21 x 29.7 cm
August 2024
SPIRIT AWAKENING
Watercolor & Acrylic on paper
Size: 8 x 8 x 6 cm February 2025
Pottery Size: 10 x 20 cm
October 2024
Paper mache on wood Size: 130 x 100 cm
March 2025
CALMNESS THE LOST KINGDOM
Pottery Size: 40 x 20 cm February 2025
on canvas Size: 40 x 40 cm February 2025
TWO FACES MENTAL CONFUSION
Acrylic
ZHYSHA PRENDERGAST
IB Year 13 Visual Arts Exhibition
Throughout my IB art journey of exploring my identity, homesickness through architecture and new internal emotions, I have been learning more about myself, which I find extremely valuable. Having moved from London to Phuket, Thailand, I felt very nervous and lonely at the start of last year. Creating art under this theme has really helped me process my emotions. My exhibition represents my interpretation of my past, present and future as well as how my use of architecture can convey literal and symbolic meanings of familiar and foreign perspectives.
I wanted my exhibition to be organised according to my chronological order, as I want to evoke the evolution of my artistic talent, skill and conceptual meanings as I grow into a young, independent adult. Starting with my artworks that illustrate my strong connection with London and the memories it holds for me as I move on independently with my life. My early art pieces such as ‘East Meets West’ and ‘Regal Transitions’, exemplify my awe for western architecture and my sense of home, however, my growing appreciation for Thai culture starts to seep into my art. Predominantly inspired by Minty Sainsbury, M.C. Escher and more, who allow me to develop my technical skills and adaptability as an artist through many mediums and styles.
Deeper into my exhibition, my pieces develop into who I am and common feelings I have noticed. Experimenting with large-scale, colour and 3D media like ‘Rotting’ and ‘Orbs of Emotion’ has allowed me to release certain issues and emotions I didn’t even know were there lingering, this was especially important living on my own for the first time away from all of my loved ones. These pieces served as a beautiful and creative reminder of who I am and the significance of not losing yourself when times get tough, which is what I am willing to show others.
Through my exhibition, I want to present my ongoing journey and bravely show public viewers very personal pieces to me for the first time as I have never even drawn a self portrait before IB, allowing viewers to resonate with my work as a majority of BISP’s international school students are far from their homes too. Therefore, I want my art to comfort them as well as myself through my message that you are not alone, although problems are unique, everyone is struggling with something and pain is temporary.
URBAN SPINE
Charcoal on Paper Size: 42 x 59.4cm August 2023
FAR FROM HOME
Charcoal and Tonal Pencils on Paper Size: 29.7 x 42.0cm November 2023
REGAL TRANSITIONS: BUCKINGHAM TO BANGKOK
Tonal Pencils on Paper Size: 14.8 x 21cm December 2023
THERE’S MORE THAT MEETS THE EYE
Collage, Acrylic, Charcoal, Colour Pencils Size: 59.4 x 84.1 cm February 2024
Ceramic Size: 50cm x 30cm March 2024
Fineline on Paper Size: 20cm x 20cm February 2025
ORBS OF EMOTION
Colour Pencil, Recycled Books Size: 21 x 29.7cm x 2 March 2025
COZY MEMORIES
Charcoal on Paper Size: 21 x 29.7cm January 2025
EAST MEETS WEST
NOSTALGIA
INSIDE SAINT PAUL’S
Lino Cut, Black and Gray Ink, Charcoal Size: 29.7 x 42.0 cm
January 2025
NIGHTS IN LONDON
Procreate - Digital Art, Animation Size: 2500 x 2500 px March 2025
ARCHITECTURAL SELF-PORTRAIT
Charcoal, Etching, Watercolour Size: 29.7 x 42.0 cm March 2025
ROTTING
Ceramic Size: 20cm x 25cm x 15cm January 2025
ZIMYA SOMBAT
IB Year 13 Visual Arts Exhibition
Living in near the church, temple and mosque for my whole life, I have developed a deep appreciation for religion, especially Christian culture I have seen and this exposure has allowed me to observe the rituals, traditions, and arctic expression that shape faith and community, which later developed my interest of The idea of 7 deadly sins. My initial assumption was that the concept was purely religious. However, as I discovered the deeper meaning of the of 7 deadly sins. It opened my eyes to fundamental aspects of human nature in psychology which later shaped moral and ethical discussion across cultures. Therefore led me to some of my perspectives that some sins cannot be avoided but it is something that will always be within the human soul for so long a time.
Through this body of work, I aim to communicate an artistic exploration of the Seven Deadly sins and Human Nature in the philosophy aspect including suffering in silences from Sloth and Wrath, the side effects of Lust, and the duality of Pride and Envy . I want to urge viewers to viewers to reflect on their own behaviors and recognize how these timeless human traits influence their lives and relationships.
I employed various techniques and materials such as paper mache, ceramic, cardboard sculpture, oil paint, acrylic painting, animation, and digital illustration such as VR to add depth and meaning to my work. For instance, in Sloth - The Heavy Mind, I used Ceramic and muted tones to convey the heaviness and stagnation associated with this sin, or fragility similar to the medium.
I arranged my exhibition in a thoughtful order to guide the viewer through a journey of self-reflection and moral inquiry. The sequence begins with Pride - Fallen Majesty which introduces the idea of self-deception and the façades we construct. This leads to “Greed- Eden’s Curse,” representing the materialistic traps that bind us
My exhibition is designed to engage adults and younger audiences. I used minimalist white frames and darkened corridors to avoid distractions and create a focused experience. The placement of interactive digital animations at different points in the exhibition encourages viewers to pause and reflect on their own experiences and emotions.
Ultimately, I want my exhibition to serve as a reminder of the enduring struggle between our flaws and our potential for growth. Through these works, I aim to inspire introspection, evoke empathy, and encourage viewers to confront their own “sins” with honesty and compassion. Creating these pieces allowed me to move beyond simply creating visually appealing art to producing meaningful and impactful works that challenge societal norms and provoke thought about the human condition.
PRIDE - FALLEN MAJESTY
Cardboard Size: 200 x 160 x 50 cm February 2025
GREED- EDEN’S CURSE
VR headset
Size: 1000 x 1500 x 950 cm December 2024
GREED - VENOMOUS YEARNING
Oil paint on board
Size: 160 x 100 cm April 2024
WRATH - SCREAMS IN GLASS
3D glass panels, painting in acrylic
Size: 70 x 50 x 20 cm March 2024
ENVY - SALTWATER & JEALOUSY
Ceramic and acrylic paint
Size: 60 x 20 x 20 cm
January 2025
LUST - THE MERGED MASS
Oil Paint
Size: 160 x 80 cm
February 2025
LUST -INVISIBLE SCARS
Animation using Procreate and Ai Assisted tools
Size: 1940 x 1040 cm
February 2024
FEAST OF FLESH
Paper Mache Size: 120x120x60 cm November 2023
THE HEAVY MIND
Ceramic with acrylic paint
Size: 30 x 30 x 30 cm February 2025
DISTORTED PURITY THE 7 DEADLY SINS
Acrylic paint on 8 glass panels
Size: 90 x 60 x 30 cm December 2024
GEORGINA BAYLISS
Special Guest Artist
After completing a degree in American Studies and History at the University of Nottingham in 2024, I decided to spend a year exploring my passion for Art and History as an intern teacher at BISP.
The painting I want to contribute to this exhibition is called In the Boarding House. It is a painting of myself sitting on the floor of my room here at BISP. It is an introspective and personal painting that exposes the quiet moments I spend alone, while living in a place that is often so full of people.
This painting is influenced by (my favourite painting): The Old Guitarist by Pablo Picasso (c. 1903). Both paintings feature a solitary figure hunched over a guitar. Picasso’s figure is holding his head down whereas I have covered my face. I wanted to convey that despite giving the viewer a picture of my world it remains private when I am in my own space. This is how I imagine the guitarist in Picasso’s picture feels - protected by his intimate connection with his guitar, despite possibly playing for strangers in an attempt to earn money.
Unlike Picasso’s work, I have not used a monochromatic palette. I wanted to keep the colours of the original picture, emphasising the vibrant mix of colours in the rug below me which contrast the neutral colours of my clothes and room.
I have always been drawn most to painting with realism. However, in this painting I wanted visible brush strokes. I wanted the painting to look like a painting- with texture sharp colour changes. I wanted to focus on creating an appealing composition, rather than obsessing over small details. I spent around 25 hours on this painting and completed it in just over 1 week.
IN THE BOARDING HOUSE
January 2025
Acrylic and oil on canvas
Size: 50 cm x 70 cm
SOON PAPAN สุน
Special Guest Artist
Education
Mahasarakham University: Art Education, Thailand
Present Position
Napas Art Gallery: 24/53 M.6, Cherngtalay, Thalang, Phuket 83110 Thailand Fan page: www.facebook.com/napasartgallery E-mail: napas.artgallery@gmail.com Mobile no.: +66912084384
2016, Nature & Culture, Napas Art Gallery, Phuket 2015, HBD 2015, Boathouse by Montara, Phuket
Group Exhibition
2017, In Remembrance of HM King Bhumibol Adulyadej, The Memory at On On Hotel, Phuket
2006, กาลเทศะ (Propriety), Ayutthaya, Thailand
2006, “6th Eastern Fine Arts by Piang Tawan Group”, Liam’s Gallery Pattaya and Art Exhibition Hall, Faculty of Fine Art, Burapha University. 2005, “Art Rising Thoughts” Pattaya International Exhibition Royal Garden Plaza, Pattaya and Eastern Art & Cultural Center, Burapha University, Chonburi, Thailand 2005, “Amata Art Award”, 2nd Fine Art Presentation in 2005 Eastern Art & Cultural Center, Burapha University, Chonburi, Thailand ‘THE BEAUTY OF NATURE REASSEMBLED BY MY IMAGINATION’
1975: Born on July 3rd in Burirum, Thailand
Oil on canvas Size: 60 x 50 cm 2024
SEA 2024
Oil on canvas Size: 80 x 100 cm 2024
A BOY PLAYING CONSTRUCTION ON THE BEACH
Oil on canvas Size: 50x100 cm 2023
Oil on canvas Size: 50x40 cm 2023
Acrylic on canvas Size: 24x30 cm 2022
BEAUTIFUL
JUFFY JOOB Nongnapas Khiewkram
Special Guest Artist
Born and raised in Phuket, Juffy Joob holds a bachelor’s degree in biology from Prince of Songkla University, Pattani Campus. She entered the world of art through the guidance of her artistic partner, Soon Papan, with whom she co-founded Napas Art Gallery in 2013. She received artistic training from Soon and developed her unique artistic style.
Juffy began creating her renowned painting series, The Bridal Cat, which portrays the elegance of Phuket’s Baba wedding attire through the identity of Thai cats. Her work blends surrealism with cultural symbolism, expressing emotions through vibrant colors and intricate details.
Over the years, her art has gained recognition from collectors worldwide. As Thailand Biennale Phuket 2025 approaches, Juffy is expanding her artistic reach and seeking new opportunities to showcase her work to a broader audience.
Growing up in Napas Art Gallery, Easter Napassakorn was immersed in an artistic environment from an early age. As the son of artists Soon Papan and Juffy Joob, he naturally developed a passion for painting, expressing himself freely through vibrant colors and bold strokes.
Despite his young age, Easter’s work reflects a pure and whimsical imagination. Inspired by nature and his surroundings, he creates art with spontaneity and joy. His works have been displayed at Napas Art Gallery, and he continues to explore and develop his unique artistic style.
Artistic Vision
For Easter, art is an adventure filled with colors and emotions. His creations offer a glimpse into a child’s world—vivid, playful, and endlessly imaginative.
