Patana Canvases eBook

PATANA CANVASES

Patana Canvases UNVEILING THE ARTISTIC PRACTICES OF OUR COMMUNITY

An exhibition of creative works by academic and business staff at Bangkok Patana School, exploring the balance between artistic practice and their professional roles in the school environment.

CURATED BY PURNIMA RUANGLERTBUTR Exhibition Hall, Arts Centre, Bangkok Patana School January - February 2025

“HELPING PEOPLE TO CONNECT WITH THEIR PERSONAL CREATIVE CAPACITIES IS THE SUREST WAY TO RELEASE THE BEST THEY HAVE TO OFFER” Sir Ken Robinson

CONTENTS 04 | CONTENTS

MESSAGE FROM THE HEAD OF SCHOOL

06

FOREWORD

07

CURATOR’S INTRODUCTION

09

ARTISTS AMANDA FIELDING

14

AREELUCK (NINA) SONGSIRIKUL

16

ARUNEE SRIBHIBHADH

18

CHRISTOPHER FERNE

20

CINDY ADAIR

22

COKE SMITH

24

DUANGPORN TURONGRATANACHAI

26

GRACE CHEN

28

IAN MCDONALD

30

JAM PIMPAKARN ABHINORASETH

32

KATE MCCLENAGHAN

34

KULLAKAN IAMTHADANAI (KHRU PU)

36

LEAFY YAN

38

MARIE-CLAIRE REDMAN

40

MARK LANZUELA

42

MARTIN GADGIL

44

NOPPANAT (WARM) POYU

46

PURNIMA GHOGAR RUANGLERTBUTR

48

RATTANACHAI PHANGSA

50

RICHARD KIRTLAND

52

ROMEU RITA AFONSO DE BARROS

54

ROSIE BROWN

56

ROSEMARY MARSHALL

58

ROSS CORKER

60

SATHITA (WAREE) KITCHAROENTHUMRONG

62

SHARON MARIE GODFREY

64

SNEHA REBECCA MATHEW

66

SUE PERKS

68

TASNEEM POONEVALA

70

TIDARAT TONASUT

72

WEERAPOL MOUNDEJ

74

RESEARCH INSIGHTS AND REFLECTIONS CITATIONS CREDITS

76 81 82

CONTENTS | 05

MESSAGE The Creative Heart of Education Teachers are not all-knowing beings who can instruct others with a sense of how to be. Rather, the children we teach enter classrooms with their own curiosity, wonderings and beliefs about things in their world. They have their own interests in moving, communicating and exploring. An effective teacher can provoke, challenge and support this natural curiosity to help them construct their own inner meanings and understandings about life. Teaching, in itself, is an inherently creative process.

Such service to others is both physically and emotionally demanding. Recharging ourselves in a community of artists, living out our own creative expressions in visual or physical forms, is a way of feeding our own souls.

TAPs is an exciting way to help us become stronger humans and stronger teachers. The forms of art and creativity being shared in the community are joyous evidence of support and appreciation for the life and work of Bangkok Patana. Anything that supports the developing muscle of creativity, either as a means to think about how we work with children or to rest and recover, is a welcome addition.

Professionals who work in schools never fail to amaze me in the way they take care of children and each other. Thank you, all of you.

Chris Sammons Head of Bangkok Patana School

06 | MESSAGE FROM THE HEAD OF SCHOOL

FOREWORD It gives me great pleasure to present the inaugural Teachers as Practitioners (TAPs) exhibition catalogue for Bangkok Patana School. This programme celebrates the diverse creative talents of our staff (both academic and business), highlighting the unique skills and artistic passions that often remain hidden behind the scenes.

The TAPs exhibition offers our students an inspiring opportunity to view their teachers not only as educators but as creators and artists. This role reversal bridges the traditional divide between teacher and student, encouraging a shared appreciation for the creative process. By witnessing their mentors engage in artistic practices, students gain insight into the importance of lifelong learning, curiosity and the courage it takes to share one’s work publicly. We hope this experience resonates with students, inspiring them to cultivate their own creative voices with confidence and enthusiasm.

For our staff, TAPs offers a space to reconnect with their artistic roots and passions. We recognise the value of nurturing creativity, not just in the classroom but as an integral part of personal growth and fulfilment. This exhibition is an opportunity for our teachers to reignite their artistic journey, share personal insights, and draw inspiration from their colleagues.

Participating in TAPs encourages self-expression, reflection, and perhaps most importantly, a break from the routine – a chance to pause and explore the creative paths that continue to shape who they are as individuals and educators or professionals. This can have a powerful impact on overall well-being.

The range of talent on display speaks to the diversity of backgrounds, perspectives, and skills within our staff. From painting to photography, sculpture to digital arts, each piece reflects a unique narrative and vision, reminding us of the richness that creativity brings to our community.

We are incredibly proud to showcase this artistic diversity, which mirrors the global perspectives we aim to foster in our school. As you explore this catalogue, may you discover new facets of our teachers’ identities and feel inspired by the connections that art can build within our community.

Cindy Adair Cross Campus Principal TAPs Programme Participant

FOREWORD | 07

The Teachers as Practitioners (TAPs) programme highlights the incredible creative talents within our staff while offering a powerful reminder of the importance of lifelong learning. By stepping into the role of creators and artists, our teachers inspire students to see education as an ongoing journey of growth, curiosity, and courage.

This exhibition also underscores the power of community and collaboration. As Cindy noted, TAPs provides a unique opportunity for staff across faculties, departments and roles to come together, fostering connections that strengthen our shared purpose. These interactions not only celebrate our diversity but also deepen the sense of mutual understanding that drives innovation and collaboration within our school.

None of this would have been possible without the visionary leadership of Purnima Ghogar Ruanglertbutr, whose dedication and creativity brought the TAPs programme to life. My heartfelt thanks go to Purnima for not only envisioning but also orchestrating this incredible initiative.

Thanks also to all the participating artists for their commitment to sharing their work and to the behind-the-scenes members of our school, including many from the Business team, whose efforts have been essential in making this programme a success.

The TAPs programme aligns beautifully with our professional learning philosophy - encouraging staff to reflect, create, and model a growth mindset. In doing so, it empowers teachers to bring renewed inspiration into their classrooms, reminding students and colleagues alike of the value of pursuing one’s passions.

It is my hope that this programme and final exhibition continues to grow, nurturing the creativity and connections that make Bangkok Patana School such a vibrant and inspiring community.

Carly Peart Vice Principal of Professional Learning

08 | FOREWARD

CURATOR’S INTRODUCTION Patana Canvases: The Artistic Practices of Our Community Welcome to the inaugural Teachers as Practitioners (TAPs) exhibition, Patana Canvases: Unveiling The Artistic Practices of Our Community. This exhibition catalogue showcases the artistic works and talents of thirty-one academic and business staff members who participated in the Continued Professional Learning (CPL) Programme at Bangkok Patana School. ‘Patana Canvases’ highlights their passions, diverse inspirations and personal and professional journeys, celebrating creativity, learning and risk-taking across a multitude of mediums, including photography, painting, embroidery, sculpture, music, creative writing, performance art and more.

The theme of Patana Canvases serves as a powerful metaphor for Bangkok Patana School—a reflection of the boundless potential, diversity and creativity that define our identity. A canvas represents both possibility and transformation: a space where ideas take shape, where individuality meets collaboration and where stories are told through personal expression.

Canvases can hold the layers of an artist's journey, embodying our multiple identities—teacher, artist, learner, mentor, amongst others—where these roles converge. Just as an artist breathes life into a blank canvas, staff, students and community members are given opportunities to bring their unique visions to life, contributing to a shared legacy. This exhibition of staff artworks celebrates the beauty of co-creation, the courage to explore and reveal the important and authentic parts of ourselves and the commitment to innovation that resonates deeply. It celebrates the distinctive voices and perspectives that shape the dynamic culture and values of the school — a dedication to fostering lifelong learning, well-being, global citizenship, collaboration, inclusivity and creativity. With these values at its core, the Teachers as Practitioners CPL Programme at Bangkok Patana School was launched in March 2024.

TAPs: Cultivating Creativity in Education TAPs refers to teachers who engage in artistic practices either professionally or as a hobby, integrating their artistic pursuits outside the classroom into their teaching ethos and seeing both as complementary to their ‘artist-teacher’ identity.

The TAPs Project is a whole-school programme grounded in published research and designed to empower all staff to embrace their creative hobbies or professional engagement in the arts.

Through curated exhibitions, TAPs celebrates staff artistic talents, fostering creative practices and cross-disciplinary connections regardless of their role in the school community. Whether in writing, painting, performance, music, or any form of artistic expression, participants are encouraged to channel their passions into artistic outputs, driven by motivation and accountability.

CURATOR’S INTRODUCTION | 09

Vision and Aims: Empowering Educators to Create TAPs is built on four pillars - creativity, craft, connection and community that promotes sustainable artistic habits for personal and professional growth inside and outside the school environment.

The programme aims to: Cultivate creativity for well-being Nurture engagement in a craft Foster cross-discipline connections among colleagues Build community relationships through exhibitions Showcase staff talents locally and internationally Establish teachers and school professionals as passionate experts and practitioners in their craft and fields Share personal stories through research, publications and conferences.

Championing Artistic Practices As the TAPs Project Lead and Exhibition Curator, my goal is to empower the creative potential of business and academic staff who engage in artistic practice, providing a platform to explore their creative talents while enriching their professional development, enabling them to thrive as artists and educators.

As a passionate advocate in the transformative power of the arts to cultivate a sense of belonging within school environments, I am also a spoken word poet, author, artist and researcher into the ‘relationship between teaching and artistic practice.’ In 2018, I delivered a TEDx Talk entitled ‘Who am I? Artist, Teacher, or Both?’, highlighting the value of embracing teachers' diverse talents and dual identities as an artist. I have seen how personal or professional engagement in a craft you are passionate about inspires innovative teaching approaches, artistic practice, and well-being. I wanted to bring TAPs to Patana as the first international TAPs exhibition to nurture creative growth and motivate staff art-making through evidence-based research on the benefits of creative practice in schools (for research insights, please refer to the concluding chapter of this catalogue).

From Inspiration to Creation: The Creative Journey TAPs creatives participated in ‘Learning 4 Learners’ workshops designed to spark intentions, foster connections, share inspirations, celebrate progress whilst supporting each other in achieving exhibition goals. These workshops were spaces of collaboration, reflection of successes and challenges, experimentation and joy; participants valued the opportunity to strengthen their role as both educators and artists, inspiring students and colleagues alike.

One of the most exciting aspects of TAPs is the diverse range of creative work emerging from the programme, showcasing artistry in many different modes of expression throughout the exhibition. Whether it’s embroidering, firing clay, bending metal, cutting lino or working with more traditional materials, these artistic practices showcase a wide range of skills.

10 | CURATOR’S INTRODUCTION

These practitioners, who live in the space between artist and teacher—or artist and professional in education—hone their skills and experiment with new techniques and materials. They approach these practices with curiosity and focus, embracing uncertainty and accepting that evolving inspiration is an intrinsic part of the artistic process.

As you read the artists' reflective statements and view their creations, I hope it highlights their brave exploration, learning to balance and incorporate creativity with school life, and, at times, stepping outside their comfort zones. Many found inspiration in exploring new mediums, deepening their practices, and expressing connections to place, culture, and nature. The integration of personal art-making with teaching reinforced empathy and a growth mindset, encouraging teachers to model vulnerability and perseverance to their students.

Embracing the Transformative Power of the Arts: A Vision of Creativity and Professional Learning In its inaugural year, TAPs has not only inspired participants to create but also forged meaningful connections among like-minded creatives. For many, the project has gone beyond creating art—it’s fostered a culture of inclusivity, representation and belonging—allowing individuals from different departments and diverse backgrounds regardless of their role, to feel represented and heard. What is truly rewarding is witnessing how art transcends barriers of language and culture, uniting individuals through the shared joy of creativity. It has facilitated opportunities for us to know each other beyond our professional roles, sharing hobbies and passions with our students and colleagues, forming friendships and connections. TAPs is a powerful reminder of how the arts can enrich our lives. Every piece in this exhibition tells a unique story about the artist — of passion, perseverance and the joy of creating.

I would like to acknowledge the invaluable support of Chris Sammons, Cindy Adair, Carly Peart and Matt Seddon for believing in and supporting my vision for this programme, as well as the expertise of the Art department, particularly Ross Corker and his team of art technicians, for their guidance and support with the exhibition installation, and the Buildings and Grounds team.

I also extend my thanks to Pimpakarn (Jam) Abhinoraseth for the design of this exhibition catalogue, Mark Lanzuela and Noppanat (Warm) Poyu for the exhibition videography and photography, and the entire Marketing department.

My sincere appreciation goes to all the participating academic and business staff who dedicated their valuable time to take part in the programme and create and exhibit such incredible works of art, demonstrating dedication and zest throughout the process. I hope this exhibition deepens understanding of the unique needs of specialist teachers and staff, the time required for artists in schools to create and exhibit their works, the space needed for artistic practice, and, above all, the value of arts practitioners within international school communities.

Purnima Ruanglertbutr TAPs Project Lead, Exhibition Curator and Researcher Secondary English Teacher, Bangkok Patana School CURATOR’S INTRODUCTION | 11

A Year of Discovery, 2024 Photography

14 | AMANDA FIELDING

AMANDA FIELDING This collection is inspired by my deep love of travel, nature, and adventure. Solo travel has been a powerful way for me to navigate personal challenges, offering a sense of freedom and rejuvenation that allows me to connect with myself on a deeper level.

As I explore new landscapes and cultures, I’m often drawn to moments that demand to be captured. However, I’ve found that the spontaneity of these experiences can be hindered by the need to set up traditional digital single-lens reflex (DSLR) equipment. Instead, I’ve embraced the simplicity of my mobile camera, which allows me to document these fleeting moments of beauty with ease.

Through my simple lens, I capture landscapes, wildlife, people and places—preserving memories that resonate with me long after the journey ends. Initially, I would only share these images on Instagram or keep them for my personal collection, viewing photography as a hobby without any clear direction. However, the TAPs project has shifted my perspective, giving me the focus and intention I previously lacked.

Participating in the TAPs CPL programme has encouraged me to see my photography as more than just a personal escape—it has become a passion and a means of artistic expression. This exhibition marks the first time I have channelled my creativity in a structured, purposeful way, transforming what was once a casual pastime into something much more meaningful.

BIOGRAPHY Amanda is a Secondary English Language and Literature teacher. She obtained her PGCE Secondary English and QTS from the University of Portsmouth and her BA (Hons) English and Media Studies degree from the University of Winchester. Amanda enjoys running, hiking and generally being in nature. She loves to travel and to experience new cultures and environments, which helps to inspire her photography.

Instagram: @thunder.see

PATANA CANVASES | 15

The Exit , 2022—24 Recycled acrylic on canvas

The Series Of My Memories, 2023—24 Film photography

16 | AREELUCK (NINA) SONGSIRIKUL

The Reflection In Blue , 2020—24 Recycled acrylic on canvas

AREELUCK (NINA) SONGSIRIKUL As an artist, I am deeply engaged with two distinct yet complementary mediums: film photography and painting. Each provides a unique way to interpret the world around me, yet both celebrate the beauty of imperfection, spontaneity and chance. In film photography, I find a deliberate and patient process that is rare in today’s digital landscape. The tangible nature of film draws me in—selecting a roll, framing a shot, waiting for light to fall just right. With film, I embrace the unknown; each shot captures a moment that remains a mystery until it develops, often revealing details that were invisible to the eye but alive within the frame. The process is one of trust and discovery, as I allow intention and serendipity to intersect. Film photography resists the instant control of digital editing, preserving an honest, unfiltered reality that invites viewers to see beyond the obvious and connect with the rawness of each moment. For me, each photograph is a celebration of the fleeting, unguarded aspects of life that often go unnoticed.

In painting, my approach is rooted in resourcefulness and spontaneity. I work primarily with leftover paint, allowing the colors and textures available to shape each piece. This method brings an element of surprise and challenge as I transform unused materials into something entirely new. Each canvas becomes a playground for experimentation, a place where abstract forms and unexpected compositions come to life. My paintings are not extensions of my photography but rather a separate exploration of color, shape, and movement. This process allows me to create freely, guided by intuition rather than a predetermined outcome. By using what is often discarded, I aim to bring a renewed perspective, finding potential and beauty in the overlooked. Together, film photography and painting offer me two lenses to express my artistic vision, each one distinct yet equally essential to my creative identity. Through my work, I hope to inspire viewers to pause, reflect, and see beauty in both the captured moment and the unexpected canvas, reminding them that art, like life, can be found in the unplanned and the imperfect.

The TAPs Project has given me a wonderful opportunity to share my love for art with the community and to inspire others to embrace creativity in their own lives.

BIOGRAPHY Areeluck Songsirikul, also known as Miss Nina, joined Bangkok Patana School in 2014 as a Primary Art Technician. She now serves as a Primary Art Teaching Assistant. Known throughout the school for her cheerful personality, kindness, and supportive nature, she brings warmth to everyone she encounters.

While her role centres on art, few people know that Miss Nina actually graduated with a degree in English from Ramkhamhaeng University. Her passion for art didn’t emerge overnight; she has been cultivating this interest for years, exploring various artistic mediums. Over time, she discovered that both film photography and painting are her true passions.

PATANA CANVASES | 17

Bird, 2022—23 Embroidery on fabric

Bird, 2022—23 Embroidery on fabric

Bird, 2022—23 Embroidery on fabric

Ikebana, 2024 Embroidery on fabric

18 | ARUNEE SRIBHIBHADH

ARUNEE SRIBHIBHADH In the TAPs exhibition, I am showcasing two sets of my embroidery. The first set is inspired by Ikebana, the traditional Japanese art of flower arrangement, which emphasises minimalism, line and form. Each piece in this set features a single flower in the centre of a vase, focusing on simple beauty and using fewer elements to highlight the elegance of each flower, branch, or leaf. The designs follow the traditional Ikebana structure of Shin (the tallest element, symbolising heaven), Soe (the secondary element, representing humans), and Tai (the smallest, symbolising earth), creating a balanced composition that guides the arrangement.

In the second set of my embroidery showcase, I explore the beauty of birds through two distinct styles. The first style employs a gradient shading technique using the long and short stitch as the primary method. I enjoy blending thread colours to create smooth gradients that bring each bird to life with light and shadow. The second style resembles cross-stitch but is actually blackwork embroidery. I use outline stitches to create patterns, adding texture to different parts of the birds.

My goal with both styles is to capture the beauty and grace of birds, highlighting their unique features.

Embroidery is more than just a craft for me; it's a powerful tool for creativity and fostering mindfulness. The act of stitching requires focus and patience, allowing me to slow down and stay present. This focus clears my mind and allows new ideas to flow. Choosing colours, selecting threads and designing patterns are all part of a creative process. Each stitch builds on the next, transforming a blank cloth into a unique piece of art. Embroidery lets me explore textures, play with colours, and make choices that shape the final design. For me, embroidery is not just about creating beautiful designs; it's about the calming process that sparks my imagination and deepens my connection to a sense of accomplishment.

Participating in TAPs has enriched my creative process. The supportive environment has encouraged me to think deeply about themes, experiment with materials, styles and techniques. I enjoy connecting with fellow members, sharing artwork, and discussing our passions, which has helped improve my skills and fuel my drive to explore my creativity.

BIOGRAPHY Arunee joined Bangkok Patana School in 2004 as a Secondary teacher, guiding students in the Thai Native curriculum and Thai Language and Culture course. She has loved art since childhood, enjoying crafts like crossstitch, embroidery, and Japanese clay flower-making.

Arunee also enjoys reading and creating art, particularly watercolour painting, where she appreciates how colours blend and add depth. During summer breaks, she embroiders and discovered a Facebook course on embroidery, which led to her first project, "Lines & Stitches: Wildflowers." Inspired by the experience, she continued to enrol in courses to practise advanced techniques such as colour shading and 3D-raised embroidery.

PATANA CANVASES | 19

Just keep swimming, 2024 Digital photography

HomeN, 2024 Digital photography

20 | CHRISTOPHER FERNE

Loosing omeN, 2024 Digital photography

CHRISTOPHER FERNE I am Head of the Arts Faculty. Art is a platform for exploring ideas and inviting people to feel, think and discuss. I enjoy working across a range of mediums both traditional and new media.

When it comes to Visual Communication, form should follow function. With this in mind, for this work, I believe the most powerful medium to hopefully provoke a poignant response from the audience is edited photography and film.

I am deeply moved by the ocean and marine life. Walking along coastlines, jetties, and piers, is something I love and I am always fascinated with the beautiful ecosystems below.

During a recent trip to Koh Samed, I was struck by the amount of rubbish accumulating around a jetty for speed boats. Not only this, there was a juxtaposition of marine life adapting to foreign objects. The harm caused by human waste resonated with me. It reminded me of documentaries like Planet Earth, where the devastating impact of microplastics is shown, such as an albatross carcass filled with plastic waste it mistook for food.

My work in this collection reflects the invasion of waste in our oceans. I chose “Nemo,” a beloved character for many, as the focal point of my work to provoke thought and emotion. By using such an iconic image, I hope to highlight the destruction taking place in our oceans and spark reflection about its consequences.

To create this work, I used photography, film, sound, and digital drawing. These mediums allowed me to capture the real-life context of ocean pollution while layering creative elements to emphasise its emotional and environmental impact.

BIOGRAPHY Christopher is an accomplished Art educator with a passion for visual communication, illustration, and media arts. Currently serving as the Head of the Arts Faculty at Bangkok Patana School, Christopher has made a significant impact on arts education through innovative leadership and creative vision.

Prior to this role, he was the Curriculum Leader for Visual Arts at the same school, where he guided the development of a dynamic and engaging arts program. With over a decade of experience leading Art departments in schools across the UK, Christopher has honed his expertise in fostering creative growth and inspiring students to explore their artistic potential.

His academic journey began with a BA (Hons) in Visual Communication: specializing in Illustration, which laid the foundation for his deep understanding of narrative and design.

He further specialized in new media completing an MA in Media Arts and Communication Design, expanding his practice into contemporary and multidisciplinary forms of artistic expression. As an artist, Christopher draws on his extensive knowledge of both traditional and digital media, combining his love for storytelling and visual culture to create compelling works. He is committed to blending education and creativity to inspire young people.

PATANA CANVASES | 21

Tides Of Tradition, 2024 Collage

Breaking The Surface — Giants Of The Deep In Peril, 2024, Digital collage

Ningaloo, 2024 Acrylic on canvas

22 | CINDY ADAIR

CINDY ADAIR When asked, if you were an animal, which would you be? I always answer confidently - a whale. They are large majestic animals, social mammals with brilliant communication skills. They love to swim and sing and migrate to the Deep South of the planet - things I resonate with on many levels. I chose to explore a range of mediums in my artwork and to explore various aspects of the place of whales in our culture. My first piece is an acrylic painting on canvas, with a whale shark as the subject. I was intrigued to learn about their unique, one-of-a-kind markings. This piece stretched me the most as an artist as I am not an experienced drawer or painter but I love to play with colour and shade. My next piece was a digital collage which explores the history of whaling and the more modern threat - an ocean plagued by plastic.

I really enjoy playing with digital tools such as Canva and Procreate. My next creation was a mixed media piece exploring the place of the whale in Pacific Island culture and mythology. I was able to incorporate the indigenous arts of carving, weaving and fabric printing into the piece through my choice of materials. Finally, during a family trip to the Beach in New Zealand we came across a huge amount of driftwood. We spent several hours building forts and a whale sculpture, from this wonderful natural material, which formed the basis of a foray into photography and the creation of a custom frame for the photos.

Participating in the TAPs programme has been a fantastic prompt to make the choice to engage in art making in my spare time. This has helped me achieve more balance in my lifestyle on weekends and holidays.

BIOGRAPHY Cindy is the Cross Campus Principal at Bangkok Patana School. She has lived and worked in Australia, New Zealand, Japan, Fiji and the US. Prior to working in education she worked in elite sports, with a focus on swimming. Cindy has a Masters in Education and a PG Diploma in Career Counselling for Elite Athletes. Cindy teaches IB Sports Exercise Health Science, coaches volleyball and leads our school Student Environmental Committees.

PATANA CANVASES | 23

Animals Of The Kingdom Of Thailand, 2010 to present Photography

24 | COKE SMITH

COKE SMITH It is my hope that by showcasing my photographic work, I can instil in viewers an appreciation of the incredible biodiversity in Thailand. I have lived in Thailand for over ten years but have been an active visitor for more than 30 years. I have had the incredible luck of seeing much of Thailand’s incredible fauna and even more luck to have been able to capture images of over one third of Thailand’s mammals and nearly two thirds of Thailand’s birds. Thousands of hours have been spent in the numerous wild areas of the Kingdom in search of diversity, and I am pleased to have this opportunity to share with you a small sample of my success. My inspiration for photographing wildlife started when I was a very young child growing up in California. My parents took us out to see nature and wildlife nearly every weekend in the wild areas of California and I saw them taking what I considered to be amazing pictures of the local fauna.

When I was about 12 years old, my family took me to Australia and New Zealand and I was simply blown away with the wildlife there. The rest is history! Now I am officially a fanatic.

Challenges for photographing wildlife are many. First, finding the various species in the wild is an art in itself. My aim is to document as many species of wild animals in nature that I can before I die; most successes have come from intense and thorough research on where to try to find them as well as behavioural characteristics that I need to know in order to capture them doing natural behaviours. Patience is mandatory. I have spent thousands and thousands of hours over the year trying for all my images. Sometimes I am lucky and can turn a corner and see a target species immediately! Other times I may spend days searching for my targets with no luck at all. Spending hours in a blind sitting quietly hoping for a target to stroll by is not unusual for me at all. If you need immediate gratification, wildlife photography is not for you. Locations for my targets are rarely right on the side of the road. I've been known to trek over 20kms with my gear in hopes of photographing something like the Giant Panda.

The TAPs programme has enabled me to focus on what I consider to be my best efforts in my recent images. Focusing on them as an art, rather than simply a form of species documentation has given me an additional dimension of appreciation for this.

BIOGRAPHY Coke Smith has been a teacher of many subjects for over 36 years. During his long tenure as a teacher, he has taught such subjects as advanced Biology, Pre-med Anatomy and Physiology, Natural History of Western North America, Wildlife Photography, all levels of Environmental Science and Ecology, and even two foreign languages – Japanese and Spanish. His passion, however, is wildlife photography, and his work has been published in hundreds of books, periodicals, newspapers and journals, including BBC Planet Earth and National Geographic Science. Coke has travelled to over 116 countries, documenting the wildlife and habitats of thousands of species of animals and plants.

PATANA CANVASES | 25

View From The Book, 2024 Crochet diorama

26 | DUANGPORN TURONGRATANACHAI

DUANGPORN TURONGRATANACHAI When I first joined TAPs, I did not realise that this event would be a showcase of the artworks I had created. I thought it would be an opportunity to learn how to make some art or crafts.

However, it turned out to be completely different from what I had expected. I then started thinking about what I could do, apart from playing musical instruments, and the idea of crocheting came to me. It was something I had always wanted to try since I was young but had never succeeded at.

So, I started from scratch by borrowing a beginner's crochet book from our library and tried it for the first time. It was so frustrating, and I nearly gave up. Then I asked myself, “What would I like to be: a fixed mindset or a growth mindset person?” The answer was a growth mindset, which motivated me to continue learning. The more I tried, the more I grew to love crocheting.

Crocheting helps me concentrate and keeps me calm in the same way as playing music does. It also brings a lot of smiles when I give people the dolls I have made.

Since May 2024, I think I have made nearly 100 dolls, purses, and cases. I have created eight completely new dolls with two accessories and combined them into a theme called ‘View from the Book’. My favourite creations are Amigurumi (crocheted stuffed toys). That was when I came up with the idea of giving these stuffed toys to anyone who would love them, as well as to children in need. I do hope that people will see that even a small thing can make them happy.

We just need to put our love and faith into what we do, and it will turn out fine. Think positively!

BIOGRAPHY Duang is a media librarian at Bangkok Patana School.

Her passion is music; she loves playing musical instruments and is particularly keen on playing the violin, viola and guitar. After joining the TAPs CPL programme, she has shared her passion for crochet, especially amigurumi. She started learning how to crochet in May 2024 and hasn't been able to stop since.

PATANA CANVASES | 27

Food From Different Cultures, 2022 to present Photography

28 | GRACE CHEN

GRACE CHEN Food defines people and helps us learn about different cultures and broaden our understanding of the world. As a food lover, I simply enjoy cooking, whether it’s for sustenance or personal enjoyment. This photographic series centres around the dishes that I’ve cooked over the past few years, utilising ingredients I have grown in my own backyard and recipes I have accumulated over my many years living across continents.

Growing up, I would help out in the kitchen in our home in Taiwan. It was here that I first learnt how to experiment in the kitchen from my mother, who continued to cook us most of our meals in our new Californian abode. It was in the sunny expanse of Los Angeles that I also encountered a whole breadth of new cuisines: smoky Mexican carne asada; pastrami reubens cut through with tangy sauerkraut; Vietnamese bahn mi, lemongrass and other crisp flavours.

When I left for Paris, the food paradise, for education, I immersed myself even deeper in food cultures and experiments. Travelling extensively within Europe during holidays further opened up my horizons for different foods and cultures. A decade later, I found myself in yet another new country: Thailand. Married to an incredibly zealous eater, food was something we shared and enjoyed immensely. We were lucky enough that our two daughters were also adventurous with their palates (one of them is now a chef, funnily enough!), and as a mixed household, we wanted our children to feel proud of and rooted in their Thai, American and Taiwanese heritage. Beyond speaking the languages, we wanted them to have the exact same dishes that we had both grown up eating: silky soft tofu, glistening in peppercorn-studded mapo tofu; the crisp skin of fried spring rolls; congee laced with ears of mushrooms. Through food, we get to share each part of ourselves, reflective of all the journeys we’ve taken together as a loving family. While my children are now both far away from me, they know that no matter what, they can always return to their mother’s table for a hearty meal. They know that they are always connected to their heritage and culture, through food and through love.

BIOGRAPHY Grace is a Primary Mandarin Teacher at Bangkok Patana School, who is originally from Taipei, Taiwan. From Taipei to Los Angeles, Paris and Bangkok, her multiple moves across the world have shaped the way she engages with the different cultures surrounding her. Outside of her Bangkok Patana life, Grace enjoys trying out new recipes, cooking for her family, sharing her food on Instagram, travelling to new places, playing music, growing vegetables organically, and last but not least, spoiling the family dog, Finn, rotten.

Instagram: @gracefulgardennlife

PATANA CANVASES | 29

Yak, 2024 Oil on canvas

Garuda, 2024 Oil on canvas

30 | IAN MCDONALD

Kinaree, 2023—24 Oil on canvas

IAN MCDONALD Firstly, I am not a trained artist, but I consider myself to be "on a self-learning journey." Painting, for me, is a way to unwind and de-stress after a long, busy, and noisy day. It provides an outlet to express what we all carry within us. It is calming, relaxing, and powerful to have your emotions reflected on a canvas. As a budding artist, the sense of empowerment and success is both humbling and overwhelming when sharing a hidden part of yourself with others.

These three paintings are part of a Mythical Beast collection inspired by my adopted home.

Having lived, worked and experienced life in Thailand for such a long time, I have chosen to explore the rich and diverse culture that surrounds me. Oils are a relatively new medium for me, evolving from my use of acrylics, and I love their vibrancy, richness of colour and the tactile sensation of paint on canvas.

Travelling across Thailand and learning about the incredible characters of Thai folklore has been an enlightening experience. Capturing these mythical creatures in oil has allowed me to immerse myself in their marvel, beauty, and power. It is incredible to feel the history and magical influence these beings have on Thai society today. While painting and adding my own twist to these characters, I have unexpectedly developed a profound passion for paint and canvas. This new artistic journey has become a meaningful path in my life, one that I may never have embarked on without the opportunity to indulge in self-expression.

BIOGRAPHY Ian has lived and worked in Thailand for the past 34 years, including his time at Bangkok Patana School. Born and raised in outback Queensland, Australia, Bangkok is a long way from where he started. However, this bustling and vibrant city has become his adopted home. Both of Ian’s children were born and raised in Bangkok and are alumni of Patana. They regularly visit to reconnect with their family and the city where they grew up. Ian is married to a Bangkok local and has nurtured his love of art through exploring and experiencing the authentic beauty of Thailand.

PATANA CANVASES | 31

Peacefulness, 2024 Oil painting, 40x30 cm

Along The Way, 2024 Oil painting, 25x25 cm

The Field Next Door, 2024 Oil painting, 95x70 cm

32 | PIMPAKARN (JAM) ABHINORASETH

PIMPAKARN (JAM) ABHINORASETH For this exhibition, I chose to explore oil painting, a medium that allows me to break away from my usual digital work as a graphic designer. While I often create on the computer, I find oil painting to be a relaxing and rewarding way to work outside of the digital realm. In my free time, I’ve always enjoyed painting, and I wanted to take this opportunity to focus on something more tangible and expressive.

The decision to use oil paint was influenced by my desire to create more textured and expressive works. Unlike digital art, oil painting allows for a deeper exploration of colour, texture, and emotion. The process is more unpredictable, with abstract textures emerging that wouldn’t be possible in a digital medium. As someone who tends to focus on perfection in my digital art, working with oils has given me the freedom to embrace imperfection and spontaneity.

Initially, my work centered around natural elements, particularly flowers, which I find beautiful and calming. However, as I continued to paint, I realised I wanted to incorporate more personal subjects. This led me to start painting my close family members, beginning with my parents. I felt compelled to capture the people who have supported me throughout my life. These paintings are a reflection of the connections I hold dear, and I plan to expand this series to include friends and others who are important to me.

Being part of the TAPs CPL programme has had a significant impact on my creativity. It has pushed me out of my comfort zone, providing me with a great opportunity to express myself in new ways. I’m excited to share this collection, which feels like a personal exploration of the things and people I love most.

BIOGRAPHY Jam Abhinoraseth, a Graphic Designer at Bangkok Patana School. She earned a Bachelor of Fine Arts in Photography from Chulalongkorn University and a Master’s in Visual Development from the Academy of Art University.

Field trips during her Master’s studies sparked her love for painting, leading to an invitation to exhibit her work. Although the pandemic disrupted those plans, the TAPs exhibition now marks her first opportunity to showcase her paintings, reigniting her artistic journey.

PATANA CANVASES | 33

Fleet Foot, 2024 Ecoline ink, watercolour pencil & acrylic on paper

Horizon Seeker, 2024 Watercolour pencil & acrylic on paper

Highland Spirit, 2024 Watercolour pencil & acrylic on handmade cotton rag paper

Gladstone Pottery, 2024 Cyanotype on sunprint paper

34 | KATE MCCLENAGHAN

Flame Heart, 2024 Ecoline ink, watercolour pencil & acrylic on paper

Hope, 2020—24 Acrylic on canvas

KATE MCCLENAGHAN This collection of artwork emerged organically as I began by exploring pen and ink, a medium that I have used before and enjoyed. I chose subjects that I felt would best showcase this. As I worked, I found that adding watercolour pencil enhanced the pieces, bringing in more subtle textures and definition than pen. This shifted the direction of my art and influenced my subject choices, leading to a cohesive selection of pieces with a shared colour palette, largely drawn from the natural world.

A late addition to the collection has been the cyanotypes, inspired by learning with my students about Anna Atkins, a nineteenth-century botanist who used this medium to create the first-ever book of photographs. After discovering her work, I was inspired to try cyanotypes myself and to use the medium as a way of displaying my line drawings. It was a learning journey with many trials and errors on the way to success!

My involvement in the TAPs programme provided the structure I needed to work steadily and avoid the bursts and lulls that often come when creating alone. Working alongside other artists gave me a sense of accountability, motivation, and the chance to share ideas and progress. The process also inspired me to complete art that I had begun during the pandemic, finally brought to life as part of this series.

Teaching has allowed me to share my passion for art with students, inspiring conversations about what they find meaningful and unique in their own lives. The experience of developing my skills, setting goals, and sharing both the successes and challenges with my peers has reminded me of the vulnerability and perseverance our students show every day. This journey has not only enriched my practice but has deepened my appreciation for the learning process itself.

BIOGRAPHY Kate McClenaghan is a Support for Learning teacher working within Year 6. She earned her MA in English Literature and Language from the University of St Andrews in 2001, followed by a PGCE from the University of Cambridge in 2003. In 2015, she furthered her professional development with an MA in Special Educational Needs and Inclusion from the University of Northampton. Currently in her 16th year at Bangkok Patana School, Kate is dedicated to supporting students with diverse learning needs. Kate’s passion for art was ignited during the lockdown when she did online art classes and the TAPs project has given her the fuel to create more.

PATANA CANVASES | 35

Scrapbook, 2022—24 Mixed media collage: stickers, paper

Captured Moments Scrapbook Calendar, 2022—24 Mixed media: photography, stickers, paper

Art, Toys & Me Diorama, 2024 Mixed media: paper, fabric, resin

36 | KULLAKAN (PU) IAMTHADANAI

KULLAKAN (PU) IAMTHADANAI Creating art has been a deeply personal journey for me—a way to explore and communicate layered meanings through tangible forms. This project, blending scrapbooking and collage with a collection of art toys, represents a confluence of visual storytelling and symbolic exploration.

Each art toy in my collection embodies specific emotions and narratives that I bring together, combining them with scrapbooking techniques using paper, stickers, and various materials. The inspiration for this series arose from a desire to bridge the gap between traditional scrapbooks and the storytelling-rich world of three-dimensional art toys.

My work reflects an expanded view of art, merging two of my passions: scrapbooking/collage and collectible art toys. I believe that art shouldn’t be confined to a single form or style. As society evolves and social media shapes our perspectives, we’re inspired to create new, dynamic works that break from convention and stay relevant to our times. This approach allows me to explore fresh, engaging forms of artistic expression that connect with the present moment, avoiding monotony and embracing change.

The TAPs CPL programme played a crucial role in supporting this exploration. I joined TAPs to refine my techniques and find a creative community where I could expand my vision, overcome challenges, and build confidence. The TAPs Project offered space to connect with like-minded individuals and explore unconventional methods. I’m most proud of how I’ve integrated different materials to build a distinctive artistic piece.

Creating this series has been both joyful and relaxing, despite the challenges of learning new techniques. It encouraged me to deepen my connection to art. This journey has inspired me to continue evolving my work.

BIOGRAPHY Kullakan (Pu), a Secondary Thai teacher and Year 8 support tutor at Bangkok Patana School, has a background in Thai Language and Teaching Thai as a Foreign Language, which has encouraged her to connect with diverse people and explore art. She loves decorating her scrapbook and personal items, such as bottles, cups, and phone cases, with stickers. During COVID-19, TikTok introduced her to scrapbooking techniques from around the world, inspiring her to start her own creations using notebooks, stickers, and more.

Recently, with the rise of Thailand’s art toy trend, she has begun collecting POPMART figures like Hirono and Dimoo and integrating scrapbook techniques to display them.

PATANA CANVASES | 37

No Mud, No Lotus, 2024 Oil painting

What do you see? 2024 Oil painting

38 | LEAFY YAN

LEAFY YAN Each painting stems from a photograph I took over the past few years, encapsulating pivotal moments in my personal journey. When I revisit these images, I not only recall the richness of what I felt—far beyond what a camera can capture—but also relive the experience in new ways. Curiously, my memories seem to evolve each time I reflect on them. Upon deeper inspection, I recognise a more collective experience: the people I was with, the air I inhaled, the trees that enveloped me. Delving further still, I encounter a mirror reflecting the human condition —always relational, intricately contextual, and never solitary. Through seeing, I see myself and I witness and experience the whole world as a single flower.

I have been working on oil painting because it allows me to slow down, immerse myself in the process, and express these evolving layers of memory and connection with a richness that words and photographs alone cannot achieve. The texture, depth, and vibrancy of oil paint mirror the complexities of these moments and provide a medium through which I can explore them fully.

Being part of the TAPs group has further deepened this journey. In this community, I feel the togetherness inherent in the act of creation. The shared exploration of painting fosters a collective energy that enriches my work and reminds me of the profound connections we share, not only through art but through the human experience itself. This sense of belonging and collaboration is as much a part of my paintings as the moments they depict.

BIOGRAPHY Leafy is a Secondary Mandarin Teacher at Bangkok Patana School. A curious educator, traveler, and lifelong learner, she grew up in China, completed a Master’s in Law in the UK, and has lived in seven countries. She enjoys exploring different aspects of the human experience through immersive reading, thoughtful debating, hiking in nature, meditation, coaching, living and traveling in diverse parts of the world, and creating art in various forms.

PATANA CANVASES | 39

Artefact #1, 2024 Oil painting & mixed media

40 | MARIE-CLAIRE REDMAN

MARIE-CLAIRE REDMAN I am a strong believer that effective art speaks to all people and that there is no correct reading of any one particular piece; therefore, what I make aims to make links across cultures and refers to a variety of cultural touchstones. Having said that, it has especially inspired me since living in Southeast Asia to explore differences between this context and the Western canon that I grew up with and to respectfully play with local visual language. My background is in printmaking and oil painting is the style of the European masters but working in teaching has meant that my daily work with students often leads me down creative pathways that I may not have explored otherwise. Climatic circumstances of living in Thailand have necessitated a change in technical approach in the application of paint and I like to think that this is also inspired by Thailand’s rich art heritage and the specific style of painting used in the painting of Wat murals in this country, which I believe can be seen in the technique, application and attention to detail of contemporary painters, lending their work an unmistakably Thai character. Being an outsider in this context also challenged me to create work that can be affordable for any budget- enjoyment of culture and beauty should be open to all and this has led me to interrogate my practice and seek out and experiment with visual language and techniques that connect with people who would not normally engage with the artistic community.

This current Artefact series explores society’s relationship with popular culture and how this impacts our roles and understanding of the world. The pieces are inspired by found paper objects and aim to challenge the digital flattening of aesthetic communication through commodification.

BIOGRAPHY MC Redman is currently a Teacher of Art, Tutor to 13R and Curriculum Leader for Extended Essay at IB at Bangkok Patana School. She holds a Masters in Teaching the Arts as well as a Bachelor of Arts with Honours from The Glasgow School of Art. Redman has exhibited in London, Glasgow, Leeds and Bangkok with the Royal Society of British Artists, Royal Institute of Oil Painters, Federation of British Artists and ItalThai Portrait Prize, as well as winning the Art Club Charitable Trust Award. Her work has been featured in publications for The Glasgow School of Art, The Mall Galleries London, The Scotsman as well as multiple fiction and poetry anthologies. Her work also forms part of the permanent collection of the Friends of Glasgow School of Art and before working in international schools, Redman was a commission portrait painter and freelance artist.

PATANA CANVASES | 41

Winter Morning at Doi Maneepruek, Nan, Thailand, 2017 Photography

Sunrise at Phu Langka, Phayao, Thailand, 2017 Photography

First Morning Light at Phu Kradueng Plateau, Loei, Thailand, 2023, Photography

42 | MARK LANZUELA

Dusky Langur at Kaeng Krachan National Park, 2021, Photography

MARK LANZUELA My exhibition collection, ขจี (Khaji), is inspired by the lush vibrancy and vitality of Thailand’s national parks. The word ขจี embodies the essence of life, growth, and nature’s resilience, which I have sought to capture through my lens. From the dense rainforests of Hala Bala Wildlife Sanctuary in the deep south to the expansive wilderness of Kaeng Krachan National Park, the iconic landscapes of Khao Yai, and the misty peaks of Doi Phuka National Park, each photograph is a testament to the beauty and richness of these green sanctuaries.

The inspiration for ขจี stems from my journeys into these remarkable ecosystems. Each park offers a unique experience: the raw, untouched vibrancy of Hala Bala, the sprawling biodiversity of Kaeng Krachan, the dramatic vistas of Khao Yai, and the serene majesty of Doi Phuka. These places are living reminders of nature’s capacity to thrive when protected and respected. Through my photography, I aim to evoke a sense of wonder and urgency—showing the beauty of these places while highlighting the importance of conserving them.

My process begins in the field, where patience and respect are key. Using high-resolution cameras and specialised lenses, I strive to capture authentic moments of life and vitality. Postprocessing enhances the natural tones and textures of ขจี, ensuring that each image conveys the lush energy of its subject while staying true to its essence.

My professional background in marketing at Bangkok Patana School has shaped my ability to craft compelling visual narratives. ขจี is a convergence of my artistic passion and my desire to inspire action. This collection is not only a celebration of Thailand’s green landscapes but also a call to cherish and protect these irreplaceable treasures for generations to come. The TAPs Programme has really helped me think more intentionally about the wildlife photos I choose to share. It’s encouraged me to focus on images that don’t just look good but tell a story—whether it’s about the connection between species, the beauty of a fleeting moment, or the importance of conservation. Being part of the TAPs community has been a huge inspiration, too. Seeing the passion and dedication of others, even with how busy we all are, motivates me to keep going and stay committed to sharing the wonder of wildlife and the need to protect it for the future.

BIOGRAPHY Mark Lanzuela is a wildlife and nature photographer whose work captures the raw beauty and vulnerability of the natural world. Growing up in the Sierra Madre Mountains of Rizal, Philippines, Mark developed a deep connection to nature, which continues to inspire his photography. Combining his love for photography, filmmaking, and music, he creates visual stories that highlight the importance of conservation. Mark currently works as a Digital Media and Alumni Specialist at Bangkok Patana School, where he supports the school community through digital and visual communication. His passion for visual storytelling aims to raise awareness and inspire action to protect biodiversity. website: www.marklanzuela.com PATANA CANVASES | 43

Human Blood, 2024 Electronic music audio track

Listen Here (Scan QR Code):

44 | MARTIN GADGIL

MARTIN GADGIL For this exhibition, I have submitted an audio track called "Human Blood".

I write electronic music on a regular basis, so I had already written most of this piece, but I found a recording of Roseanne Barr talking to Tucker Carlson about Haitian immigrants eating pets in Springfield, Ohio (September 2024). The vocal samples are taken from that interview. As you can hear, she goes a bit further than just the 'pets' theory.

The track was composed using Logic Pro X on an M2 MacBook Pro, with various plug-ins (Tone2, Native Instruments), and mixed on Tannoy Gold 5 nearfield monitors.

This track was mixed in the newly refurbished (and amazing) school recording studio on a pair of Genelec 8351B monitors through a Digico S21 mixing console.

BIOGRAPHY Martin is a Chemistry Teacher who dabbles in electronic music in his spare time. After being heavily involved in student radio at university, he trained for his first career as a sound engineer and as a consequence, can occasionally be found tweaking knobs in the school’s recording studio. In the past he has produced music with UK dub legend The Mad Professor (with Lee ‘Scratch’ Perry), as well as posting more recent material on Soundcloud.

PATANA CANVASES | 45

The Building’s Building, 2024 Photography collage

46 | NOPPANAT (WARM) POYU

NOPPANAT (WARM) POYU Before joining Patana, I spent two years working in the Sathon area, commuting daily by motorcycle. The frequent stops at traffic lights gave me time to observe my surroundings, especially the buildings. Seeing them at different times of the day—morning, noon, and night— offered unique perspectives that inspired me. In my mind, I began piecing together fragments of these structures, imagining how they might look combined in unexpected ways. This curiosity led me to create this photography collection, giving life to the question, “What would it look like?”.

For this exhibition, I chose art paper for printing as it’s ideal for showcasing photography in its best quality. The process was straightforward, though I faced challenges with time management, having made my decision to participate quite late.

Joining the TAPs CPL programme was a significant step for me. I’ve always dreamed of exhibiting my photography but lacked the courage to pursue it. This time, with immense support and encouragement from my team, I decided to take the leap. This experience has motivated me to continue creating. I plan to experiment with film photography in the future, potentially exploring new themes while building on the techniques and ideas I’ve developed here.

In connection with the exhibition theme, ‘Patana Canvases: Unveiling the Artistic Practices of Our Community,’ my work represents a bridge to future TAPs programmes. By showcasing diverse ideas and creative possibilities, I hope to inspire others in the community to join and share their artistic voices.

BIOGRAPHY Noppanat (Warm) Poyu began his photography journey in Mattayom 2 (around Year 7) using his uncle’s camera during a family trip. Fascinated by the numbers, text, and shapes on the back of the Canon 550D, he asked his uncle if he could try it. His uncle taught him some basic photography techniques, and after taking his first photos, Warm realised his love for the craft. Warm graduated from Mae Fah Luang University with a degree in Hospitality Industry Management, specialising in hotels and resorts. After graduation, he worked for five years as a Marketing Communication and Media Creator before joining Bangkok Patana School as a School Photographer and Marketing Coordinator.

PATANA CANVASES | 47

Where I’m From, 2020—24

A World of Her Own Making, 2021—24

Muses In The Sun, 2020

The Temple Within, 2006—24

48 | PURNIMA GHOGAR RUANGLERTBUTR

Photogram prints

Illustrated and concrete poetry: pen, ink and digital tools

Concertina artists’ book: copper plate etching on paper

Concertina artists’ book: Lino cut print on paper

PURNIMA GHOGAR RUANGLERTBUTR I believe in the transformative power of words and visual art to inspire creativity, explore and reaffirm cultural identity, ignite activism and nurture authentic connections. For me, art-making sparks conversations that challenge stereotypes, amplify marginalised voices and a diversity of perspectives, promote inclusion, foster self-acceptance, self-discovery and enable the representation of all. Art also provides a cathartic and therapeutic outlet, inspiring me to connect with others, share stories and explore the vast spectrum of human experiences. Curating this exhibition serves as a work of art in itself, embodying a metaphor for this creative process.

The pieces chosen for this exhibition showcases multiple mediums of my work as a multidisciplinary artist. Writing to empower, uplift and inspire, my poetry and art draw from my upbringing—having been raised in Bangkok as an alumna of Bangkok Patana School—and my Australian-Thai heritage of Indian ethnicity. Living and working in cities including Bangkok, London, Melbourne and Sydney has shaped my practice, which reflects an aesthetic fusion of these influences and explores the special relationship between visual and written expression. My writing is often inspired by visual art (ekphrastic poetry). Concrete and illustrated poetry styles are a growing feature; arranging words to form pictures helps viewers appreciate words as an artistic medium and subject matter they can manipulate. Global issues such as women’s empowerment and environmental concerns, along with the celebration of creativity, hope, nature and culture, are also common themes in my performance poems as a professional spoken word poet. These interests have shaped my integration of DEIJ principles, SDGs and global literature in the classroom, encouraging students to explore their creative potential and embrace their roles in a globalised world through innovative student-led projects that foster experimentation, critical thinking and pride in individual voices, empowering young people to write, perform and publish their work. My advocacy for using art to inspire writing in the classroom stems from my published resources designed to make creative writing, visual literacy, poetry and literary analysis engaging and accessible to all.

BIOGRAPHY Purnima is a Secondary English Teacher, form tutor, Spoken Word Poetry Showcase facilitator and TAPs CPL programme lead at Bangkok Patana. A writer, performance poet and artist, she fosters a love for creative writing and literature. Purnima is the author of Inspired English: Creative Writing and Critical Thinking Through Art (Macmillan Education) and has performed poetry at the National Poetry Library (UK), ASEAN Forum, and International Women’s Day. Her artistic work has been featured in international publications and exhibitions. She has held roles in education, publishing and art, including curator and lecturer at Melbourne University, education officer at the National Gallery of Victoria, and editor of Journal of Artistic and Creative Education. Her visual art spans photography, painting, printmaking and illustrated poetry. She holds a Bachelor of Creative Arts (Honours), a Master of Teaching (Secondary) from Melbourne University, and a Master of Art Administration from UNSW, Sydney. website: www.purnimacreations.com PATANA CANVASES | 49

Painting Of Koi Fish, 2022 Watercolour on paper

Painting Of Pink Flowers, 2022 Watercolour on paper

People of the Future, 2024 Mixed media with ceramics

50 | RATTANACHAI PHANGSA

Painting Of Autumn Leaves, 2022 Watercolour on paper

RATTANACHAI PHANGSA The work leading to this exhibition includes watercolour paintings, mixed-media ceramic sculptures, and pieces shaped by personal perception and transformation. These artworks explore various techniques, all inspired by striking images, connections, and experiences. The terracotta material and its basic colour tone create a feeling reminiscent of old, rusty iron. I used mixed-media techniques; terracotta, iron, and waste materials come together to create the scenes.

Some pieces aim to capture the beauty of nature, while others use the medium itself to tell stories about the state of the world, its environmental challenges, and the disasters we face. These works encourage viewers to reflect on their own perspectives and consider their role in addressing global environmental issues. I want my art to communicate that nature conveys beauty that can still be found today, as well as an imagination of the future—of the adaptations to new environments that we may have to make. The work presents a blend of beautiful realism, natural beauty, and a rugged imagination. It is an attempt to depict one idea of beauty and decay.

From my childhood to the present, I have witnessed many rapid changes, including the transformation of rural areas into urban spaces, altering ways of life forever. When I think about the past and look at the present, I cannot help but worry about the future.

This is the first time I have had the opportunity to present through this channel at school. If I have the chance to exhibit again, I would like to present the beauty and disappearance of the world in a way that touches people's hearts. I would also incorporate other techniques and materials to make the work even more unique and engaging.

BIOGRAPHY Rattanachai graduated in Humanities and Mass Communication from Ramkhamhaeng University, Thailand. He currently works as an art technician with 10 years of experience. His duties include advising and solving problems related to the creation of student artwork using special techniques and a variety of materials for high school students, as well as assisting with the display of student artwork. Khun Rat was recently honoured with the prestigious ‘Legend of Thai Craft’ award as a ‘New Artist’ at the SACIT (Sustainable Arts and Crafts Institute of Thailand) ‘Identity of Siam 15’ Art Fair, held at the Queen Sirikit National Convention Centre.

PATANA CANVASES | 51

The Epic Adventures of Max & Uncle, 2024

Explore the book (Scan QR Code)

52 | RICHARD KIRTLAND

RICHARD KIRTLAND I've always enjoyed history and time-travel stories. Sure, time machines and dinosaurs aren't exactly new ideas in children's fiction, but kids still love them. Sometimes the most well-worn concepts are the most fun to play with.

I wrote "The Epic Adventures of Max & Uncle: The Prehistoric Problem" for a simple reason: I love writing and wanted to create something fun for kids aged 6-11. There's no deep message or educational angle; it's just meant to be an entertaining story.

The main character, Max, is a kind-hearted but mischievous boy who's always getting into scrapes – the sort of child everyone remembers from their school days. While Max himself is completely fictional, other characters draw inspiration from real life. His uncle, for instance, is loosely based on my own uncle. Though not quite the crazy inventor in my story, my uncle had his quirks: a house full of cats, a constantly-lit pipe, and a habit of serving soggy cucumber sandwiches. He also kept his house in near darkness and at temperatures that could rival an industrial blast furnace. Then there's Mungo, who represents that friend we've all had who never stops talking, and Mr. Snipely-Green, who embodies every strict and terrifying headmaster.

If this book finds its audience, I have more Max & Uncle adventures in mind. There's plenty of history to explore, and I've already laid the groundwork for a potential second story set in Ancient Rome…

But for now, I just hope young readers pick up this book and have a good time with it. If they do, I've accomplished exactly what I set out to do.

BIOGRAPHY Rick Kirtland is an Assistant Principal in the Primary School at Bangkok Patana School. He has a BA(Hons) from The School of Oriental & African Studies (SOAS), University of London; an MA(Ed.) from the University of Bath; and a PGCE from the University of Cambridge. Rick has worked as a teacher and leader in both the UK and in Thailand. Outside of school, Rick enjoys writing, exploring spirituality and spending time with family.

PATANA CANVASES | 53

Detail Of A Rock, 2024 Microscopic photography

Detail Of A Bug, 2024 Microscopic photography

Detail Of Tree Bark, 2024 Microscopic photography

Detail Of Human Hair, 2024 Microscopic photography

54 | ROMEU RITA AFONSO DE BARROS

ROMEU RITA AFONSO DE BARROS Microscopic photography is a spectacular and memorable extension of our senses, unveiling a whole new dimension of the world around us. Children naturally notice it straight away: the photos I am presenting in this exhibition are based on some of the interesting findings made in Laem Mae Pim by our Year 7 students during the Beach Investigation activities as part of their Residential Visit to Rayong, Thailand, in the first week of November 2024. The samples photographed were objects found by the students: shells, rocks, tree bark, fragments of marine life, and even ordinary sand. I encouraged the students to find interesting samples on the beach and bring them for observation. I kept some of the samples for additional scrutiny, and here they are in the exhibition. The photos were taken using the microscope mounted on its stand, as seen here in the exhibition, with controlled illumination.

These simple microscopes give us access to a new “extended” sense, and I find it interesting how students immediately tap into it. For example, in the artwork titled ‘The Letter “C” on White Background’, the three light-emitting diodes (LEDs)—red, green, and blue—clearly visible around the letter “C” to make white, challenge our normal perception. However, there is an important moment of resolution when we perceive white as an emergent property of the combined effects of those LEDs. The TAPs programme has influenced my creativity; instead of capturing the images directly on the beach in Rayong, I collected the most promising samples and worked with them at school.

Our students quickly realise that they can use this extended sense to probe unseen worlds. They point the microscopes at their scars, their splinters, and their hair. Perhaps other scientists, in their practice with microscopes of a different kind—more powerful—can probe into deeper realities.

I hope the audience members will question their own senses when experiencing the world around us, by considering this otherwise invisible perspective offered by the microscopic view, as revealed through these photos.

BIOGRAPHY Romeu Barros is a physicist who has been teaching computer science at Bangkok Patana School for the past 17 years. He graduated from the Department of Physics at the Faculty of Sciences, University of Lisbon (FCUL) and has taught in Lisbon, London, and Bangkok. Romeu has a keen interest in recent developments in fundamental physics and their imminent impact on society, the economy, politics, and culture. He believes that physics and quantum computing, alongside genetics, will irreversibly transform the landscape of human experience over the next three decades.

PATANA CANVASES | 55

7-eleven, 2024 Lino print on watercolour

rotherhithe, 2024 Lino print

piano, 2024 Lino print on patterned paper

56 | ROSIE BROWN

fondue, 2024 Lino print on patterned paper

percebes, 2024 Lino print on patterned paper

ROSIE BROWN Art has always been a passion of mine. I pursued it at school up to GCSE before focusing on Music, which I later studied at university and now teach. During the lockdown, with extra time on my hands, I rediscovered my creative side. I began drawing, painting, and crafting, making handmade cards for friends and family using various mediums like watercolours, acrylics, felt pens, felting, and sculpting.

In 2023, a friend gifted me a simple lino printing set for Christmas, and it quickly became my favourite hobby. I enjoy creating small, meaningful designs—simple icons that can be easily reproduced in different ways and shared. My focus has always been on creating art to give to others.

This August, my family relocated from London to Bangkok. At our leaving party, I held a surprise mandatory tombola to share my remaining art prints that weren’t making the move with us.

Friends and family loved winning something handmade (if of questionable quality...), and I’ve since heard that some of my prints have found homes in downstairs bathrooms—an outcome that brings a smile to my face!

Art remains a joyful escape for me, allowing me to connect with others through creativity.

BIOGRAPHY Rosie joined the Secondary Music Department at Patana in August 2024, having taught previously in London, Switzerland, and Portugal. Primarily a pianist and cellist, Rosie grew up performing both as a soloist and in orchestras across the UK. Passionate about using music in the community, Rosie has led several Community Choirs over the years. In 2017, she founded the Lisbon Community Choir, which continues to thrive today. She has been Musical Director of several pantomimes, and co-wrote a musical about a real-life spider infestation at her school in East London.

Outside of music, Rosie enjoys cycling, creating art, jigsaw puzzles, and exploring the vibrant city of Bangkok, her new home.

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What I Like To Do On My Own, 2023—24 Wheel thrown ceramics & natural wax cast brass

58 | ROSEMARY MARSHALL

ROSEMARY MARSHALL I’ve always appreciated art, a passion that was shaped by my parents, who often took me to galleries as a child. Moreover, growing up in Northern Ireland formed my love of ‘the arts’, landscape and our place within it. However, I wouldn’t call myself an “artist”. For me, creating art isn’t about perfection or showcasing my work—it’s about joy, peaceful experimentation, and appreciating the charm of imperfection.

In this collection, I’ve explored pottery and brass casting. Pottery is my outlet; I love the quiet space of the wheel. I've recently been experimenting with geometric forms inspired by Ikenobo Japanese ceramics.

For my castings, I used ancient techniques with natural materials. While staying in Baan Pa Ao Village, Issan, Thailand, I blended termite mounds and cow dung to create molds and collected natural beeswax to create the ‘form’ (ultimately the part that will be brass at the end of the process). This reverse casting method, where the molten metal burns through the wax or natural material, has an element of unpredictability that I find fascinating; you cannot see the cast piece until it is broken out of the hardened clay mold. There are few places left in the world that maintain this ancient casting technique. Each piece is a surprise, especially the stag beetle (that I found dead at the side of the road!) which I am very fond of. Moreover, I was enchanted by the traditional bells of the village, each one ringing differently from the other.

My crafting has surprisingly had some influence on my teaching. I say surprisingly because I use craft as an escape from the classroom - it is my space. However, learning new processes have placed me in the student’s shoes, cementing the value of positive reinforcement and breaking tasks into clear, manageable steps.

BIOGRAPHY Rosie Marshall is a Secondary English teacher at Bangkok Patana School. With a Bachelor in Art History and English Literature from Trinity College Dublin, she integrates her passion for art into her teaching. Prior to teaching she worked in the Editorial teams for The White Cube Gallery and Tracey Emin Studio, UK. She frequently draws on her creative pursuits to inspire students, blending art, literature, and hands-on expression. Rosie has been living in Thailand for seven years and has experience in ceramics, casting, dressmaking and printing. Outside of her teaching, she enjoys sailing and exploring the natural world.

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Morning Walks: 3221 Steps, 2024 Mixed media on reclaimed wood

60 | ROSS CORKER

ROSS CORKER I created this series to reflect on the layered experiences and observations I’ve gathered during my daily walks through the small Sois of Samut Prakan, near to where I live. These morning walks started as a personal fitness goal to increase my steps but evolved into a piece of work about my connection to the spaces I live in. Over time, I began to notice the rhythms of the streets - the morning routines of people walking to work, street cleaners sweeping, and the movements of taxi bike drivers. These ordinary moments became more meaningful over time, and I found myself feeling more a part of the Sois’ daily life. As opposed to being an onlooker.

My inspiration comes from this slow process of noticing and connecting. Walking at 5:30 am every day, I’m experiencing a quieter, more intimate side of the city. Through my work, I aim to capture this sense of layering, time, and increasing feeling of belonging.

Each piece represents a different Soi. Using a mixed media approach on wood, I experiment with photo transfer, stenciling, and painting with ink to build layers that mimic the repetition of my observations - and my steps.

This creative journey has challenged me to slow down, reflect, and observe more thoughtfully.

It’s been a rewarding process of risk-taking and learning, mirroring the curiosity and observational approach I aim to inspire in my students.

This project also gives the audience an opportunity to reflect on their own connections with the spaces they live in and to consider the things they may normally overlook in everyday life.

BIOGRAPHY Ross Corker is the Head of Visual Arts at Bangkok Patana School, working alongside a fantastic team to foster creativity and critical thinking through artistic practice.

With a background in Fine Art, Ross has a strong interest in exploring themes of time, space, and identity. Their work often draws from personal observations and experiences, combining traditional and experimental techniques to create layered, meaningful pieces. Ross takes inspiration from the vibrant culture and streets of Bangkok, where he lives with his family. Their recent work focuses on connecting daily life and artistic expression, encouraging reflection on the spaces we occupy.

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Sewing For Happiness, 2013 to present Quilting, patchwork & embroidery

62 | SATHITA (WAREE) KITCHAROENTHUMRONG

SATHITA (WAREE) KITCHAROENTHUMRONG They say that “when one door closes, another door opens.” The door to the world of sewing opened for me over ten years ago after I had an accident. The accident left me in a wheelchair for months, forcing me to think about what I could do when I was unable to walk.

Fortunately, just a few weeks before the accident, my husband and son had bought me a sewing machine as a Mother’s Day present. It became my companion during those long days at home.

On weekends, my husband would wheel me to sewing classes, where I found new friends, learned how to sew, and gradually discovered a passion that has stayed with me ever since.

“You could make sewing your occupation,” one of my friends suggested after seeing my creations. I decided to try, but I quickly realised that creating items for sale made me stressed and unhappy. I stopped selling and instead focused on sewing for people I knew would truly value my work. During the COVID pandemic, I had the opportunity to sew thousands of cloth masks to donate to those who couldn’t afford them. My family and friends provided incredible support for the donation effort, and looking back, I feel deeply proud of what we accomplished together.

I never imagined I would come this far (I now have two sewing machines!). Since the door to the world of sewing opened, it has led me into a realm of happiness, friendship, and passion, as well as opportunities to give back to others. Above all, the unwavering support from my family has been the foundation that has allowed me to remain in this world of creativity and joy for so long.

Since joining the TAPs programme, I have started incorporating Thai fabrics into my creations, designing practical items for everyday use such as blankets, backpacks, bucket hats, tote bags, and purses - textiles which are featured in the exhibition.

BIOGRAPHY Khun Waree is a librarian at Bangkok Patana School and holds a Master’s degree in Language and Communication, in addition to a Bachelor’s degree in Information and Library Science. Her favourite hobbies include reading and sewing. She enjoys listening to music while sewing at home, finding it both relaxing and conducive to focusing on the items she creates. Khun Waree particularly enjoys using patchwork and quilting techniques to craft items from a variety of fabrics.

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“The human spirit is at its best when inspired by passion and purpose” - Sir Ken Robinson

The written word marks the start of creativity, but as a theatre practitioner, the true process unfolds through exploration. Words must be shaped physically, vocally, and spatially, blending deep knowledge with originality to create something exciting and captivating for a live audience.

On this page, I offer a glimpse into the stories I have had the privilege of telling alongside the symbiotic process of writing, directing, and designing. None of this would be possible without the pivotal role of the actors, whose trust and dedication bring everything to life. I’m deeply grateful for their incredible contributions and their faith in surrendering to the journey with me! This is as much as it is about them as it is about me and most importantly the lives we share with you. Thank you all!

The Cost of Loyalty I’m holding on to all the pieces really tightly, so tightly that my heart is sore, and my hands ache and my senses don’t work anymore… you return the smile. It betrays you. Your off-white teeth expose the tiny fine crack in the front tooth, a childhood fall. I know you more than you think. I know you better than anyone… perhaps that is the problem, you’d rather be anonymous with all those secrets that you hide from others…

What Shadows Know I had never questioned this body but now I am overwhelmed by a deluge of questions reflecting the deformity I feel to be.

Questions became statements, statements become habitual thoughts, patterns, codes a way of existing, of being and fighting… always battling…

More Than Skin …remnants of dignity, like shards of broken glass, lie in the look I give to her. Soft pink rimmed eyes contrast with my cracked chapped lips. She glances at me and only sees the sourness of age like red fruits fermenting. I am fermenting, I have fermented… I have no purpose but to decay…

The Photographer I used to be able to find beauty in the ugly, even if it was small and fragmented. It was there and obvious and I observed, like clean crystal glass shining in the sun, throwing rainbows on the walls or the pavements. Walls were more difficult for me to navigate but pavements were a means to some sense of freedom. I can walk the pavement, one step after another after another and I am somewhere else.

Watch ‘The Stories Within Us All’ Performance art (Scan QR Code)

64 | SHARON MARIE GODFREY

SHARON MARIE GODFREY Humans are naturally curious, creative, and intuitive beings - a truth championed by Ken Robinson, whose ideas have profoundly influenced my educational philosophy. His work has guided my commitment to nurturing each individual’s potential with a holistic, compassionate approach. I am driven by a deep curiosity about the world and a strong belief in the transformative power of human connection. In both my personal and professional life, I strive to create communities that encourage self-discovery- spaces where individuals are empowered to recognize and reclaim their inherent worth. This often means stepping beyond comfort, pushing into the unknown. As the saying goes, "feel the fear and do it anyway." This is precisely what I am doing by embarking on this project.

For me, creativity is not a luxury but a necessity - a fundamental way to nourish the human spirit.

Writing has always been my primary channel for this creative expression, though in recent years, it has waned. This project represents a deliberate return to that creative space, a renewed commitment to the written word. I have chosen monologues as my medium, blending my educational work with my belief in the power of performance and storytelling. This choice is also inspired by an earlier endeavour, where I envisioned creating a community company dedicated to sharing personal stories - a platform to amplify voices that often go unheard, ensuring that people are seen, heard, and valued, and that their stories matter.

My theme is ‘The Human Condition’, exploring the complexities of existence. Birth and death are universal, yet the emotional landscapes between these two moments are infinitely varied. I have chosen to focus on the emotional experience, which unites us across cultures and beliefs.

The way we feel life transcends boundaries. I no longer seek a single ‘meaning of life’, recognizing instead that all experiences hold inherent significance. This small collection is a testament to real stories, reflecting the shared fabric of humanity. Through empathy and compassion, may we connect with one another, acknowledging the beauty and, at times, the ugliness, within our shared human condition.

BIOGRAPHY Sharon Marie Godfrey is a Drama teacher at Patana School, Thailand. With 25 years of experience in the UK as Head of Drama and Head of the Arts Faculty, she has also worked as an actor, writer, and director. Sharon has taken her plays to the Edinburgh Fringe Festival and led workshops at venues such as Oxford University.

Passionate about human connection, she is dedicated to fostering creativity and expression in her students. Her family is her greatest inspiration, and she believes that love and compassion should be at the heart of everything we do.

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Enchanted Forest — A Walk In The Woods, 2024 Edible art

66 | SNEHA REBECCA MATHEW

SNEHA REBECCA MATHEW For this exhibition, I chose to explore edible art, a medium that allows me to combine my love for baking and creativity. Growing up, my mother’s homemade cakes were the centerpiece of every family celebration, and those memories inspired me to start baking for my own children.

Each cake became a way to pass on the warmth and joy I experienced as a child.

It all began in 2013 with my son’s first birthday. I baked his cake and designed the party décor entirely by hand. The positive reactions from friends and family encouraged me to keep going, but at the time, I saw it as a personal passion rather than a business venture. By 2016, while planning my daughter’s first birthday, I realised there was a lack of truly unique, handmade party experiences. That’s when the idea for BENKAH took shape. At BENKAH, every creation starts with a story. I design cakes that reflect the personalities of the people they’re for, using only natural ingredients to let the flavours and designs shine. Much like painting on a canvas, cake designing involves sketching ideas, working with a colour palette, and bringing everything together into one edible masterpiece with the background decor setting a tone for the event.

‘Enchanted Forest - A Walk in the Woods' is the theme of my edible art for this exhibition, as I believe it captures everything art should be—intriguing, immersive, and open to interpretation, inviting you to weave your own story. For me, edible art goes beyond making food visually appealing; it’s about storytelling, evoking emotion, and sometimes sparking deeper reflection and provoking thought. Being part of this journey has taught me the importance of simplicity and authenticity in my work. It sits at the crossroads of culinary craftsmanship and visual artistry. I strive to create cakes that are as beautiful as they are meaningful, with designs and flavours that speak for themselves.

Listening and sharing ideas with fellow TAPs programme members has been creatively awakening and in turn helped me with my inspiration. The support from the TAPs Team so far has been incredible and very encouraging to keep pushing forward.

BIOGRAPHY Sneha is the creative force behind BENKAH, a bespoke cake design studio born from her deep love for baking and storytelling. Inspired by her mother’s homemade cakes, Sneha began baking for her children’s birthdays, blending artistic flair with heartfelt tradition. Her designs, characterised by natural ingredients and intricate details, celebrate life’s special moments. A former design professional and currently working as the Marketing Communications Specialist in Bangkok Patana School, Sneha combines her expertise in visual aesthetics with culinary artistry, transforming cakes into edible masterpieces. Sneha’s love for Edible Art stemmed from the joy of painting from when young, which she still continues, when she’s not baking or working at school! website: www.bespokebenkah.com PATANA CANVASES | 67

Laughter On The Street, Kathmandu Mitrralal, Kathmandu

On The Beach, Arugam Bay

Atauro Island, Timor Leste

Power, Auckland

San Sebastien

Frenchman, Laas

Sulawesi Fisherman

Watching And Waiting, Baku

Woman On The Train, Istanbul

Atauro Island, Timor Leste

Worker In The Paddy Fields, Jatiluwih

Digital paintings, 2023

68 | SUE PERKS

SUE PERKS This collection of digital portraits is a reflection of my travels and my exploration of new digital media. It’s not just a series of likenesses, but an intimate exploration of the human experience, shaped by my encounters with diverse cultures during my journeys through Asia, Australia, New Zealand, and Europe.

As I travelled, I became fascinated by the diversity of people I met. My portraits capture the vibrancy of different cultures and the uniqueness of individual features. Each work reflects a specific moment, a place, and a connection with the subject, becoming a visual diary of my twoyear journey.

The diversity of faces—ranging from young adults to elderly individuals—allowed me to explore the beauty of aging and the personal narratives expressed through the lines of a face. Many subjects are dressed in traditional attire, enriching the cultural context. This series is as much about the process of observation as it is about the people I met, creating a respectful, authentic record of their identities.

Created using Procreate on an iPad, these portraits allowed me to experiment with digital tools while maintaining the depth and texture I strive for in traditional painting. The layering process, which I learned from encaustic painting, became central to my approach, enabling me to build complexity without the physical constraints of traditional materials, allowing me to travel light.

The use of light, shadow, and texture is a key aspect of this work. I am drawn to the way light shapes the 3D form of the face, and my training in textiles influences my sensitivity to patterns and textures. These elements enrich each portrait, celebrating the individuality of each subject while also acknowledging our shared humanity.

BIOGRAPHY Sue Perks is a teacher of Art and Design in the secondary school at Bangkok Patana. Sue studied Textile Design in the UK before emigrating to Australia and then Hong Kong.

She has previously exhibited collections of encaustic paintings and silkscreen prints internationally and has only recently diversified into exploring digital media. This collection of work was completed over a two year period of independent backpacking using Procreate on an iPad.

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Tapestry Of Life, 2024 Fabric, cloth, sponge

Vibrant Flavours Served On Stunning Mandala Platters — Where Art Meets Taste In Every Bite, 2024 Acrylic on wood

70 | TASNEEM POONEVALA

TASNEEM POONEVALA My collection for this exhibition is a humbling opportunity to learn new things and revisit the childlike joy of being surprised. I wanted to challenge myself to explore, create, and play with colours to brighten my spirit, and to create something new, functional, and colourful.

I have created two platters featuring colourful Mandela art. Inspired by the use of bold, vibrant colours and dynamic imagery, the art evokes emotion and engages visually. The Mandela art on the serving platters serves both as a functional object and brings vibrancy through its colours.

In the ancient Sanskrit language, "mandala" means "circle." Throughout history, the circle has been an important form of expression in human culture, symbolising completion. Mandala circles transcend cultural boundaries, and working in an international school, this is exactly what we need—no boundaries. The mandala is a reflection of the natural urge to grow towards wholeness and to live out our potential as individuals.

Additionally, the mixed-media artwork titled ‘Tapestry of Life’ is created using textiles from India and Thailand. It often serves as a metaphor to explore the interconnectedness of individuals, cultures, and traditions, highlighting how traditions are passed down through generations and how cultural heritage is woven into the lives of individuals and communities. Tapestries, as both functional and decorative items, can remind people of their cultural past, linking them to their ancestors and fostering a sense of identity and pride.

My simple statement is: "Colour livens up your mind, spirit, and brings about happiness." I call this my creation—Tapestry of Life. Every bond we create in our lives is like a thread, forming part of the human tapestry.

BIOGRAPHY Tasneem Poonevala is a Teaching Assistant in Year 6. She was born and raised in Mumbai, India, where she completed her Bachelor's in Economics, a Master in Economics, and a Postgraduate Diploma in Business Administration from Bombay University. Tasneem worked for 22 years with HDFC, India's leading mortgage company. She later moved to Thailand with her husband, who is an Investment Banker. Upon joining Patana, she pursued a Bachelor's in Education. Tasneem has a passion for creativity and seizes every opportunity to take courses, ranging from pottery making to mandala art. She enjoys playing bridge as a hobby and has been involved in charity work with autistic children and the blind in India.

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A Tale Of Mystic Balance, 2024 Acrylic on canvas

Secrets Beneath The Surface, 2024 Acrylic on canvas

Bittersweet Spring Memory, 2024 Acrylic on canvas

Awakening Under The Midnight Glow, 2024, Acrylic on canvas

Melody Of The Moonlit Waves 2024 Acrylic on canvas

72 | TIDARAT TONASUT

TIDARAT TONASUT My artworks reflect my life experiences, thoughts, and beliefs, transformed into a fantasy world through a semi-surrealism style. Inspired by the people and issues around me, and influenced by Buddhist doctrines, particularly the idea of “living in the present,” I create vibrant acrylic paintings on canvas. My goal is to invite viewers to explore their own stories and recognise that even small moments can offer great lessons and precious memories.

The central figures in my art—a lady and a rabbit—represent a lifelong journey together. The rabbit symbolises innocent spirituality and an eagerness to explore the world. Together, they embody the ups and downs of life, guiding us through our hopes, fears, and inner worlds. Their relationship invites a dialogue about our shared experiences and the deeper aspects of being human. I was drawn to acrylic painting because it’s versatile, dries quickly, and allows me to experiment with different styles. I enjoy its vibrant colours, the ability to layer easily, and how forgiving it is when I make mistakes. It’s flexible, durable, and perfect for trying new techniques.

Each brushstroke captures the moments that have shaped me—joys, struggles, and dreams.

Through my paintings, I want to express feelings that resonate with others, allowing them to connect with my work. I believe that art bridges gaps between our individual experiences and the larger human story.

I aim to invite viewers into my fantasy world, encouraging them to reflect on their lives and emotions. My paintings become canvases for connection and exploration, fostering understanding and imagination. Through my art, I hope to inspire others to reflect on their journeys and find beauty in their experiences, celebrating the rich tapestry of life together.

Participating in TAPS has been incredibly meaningful to me. I have discovered talented people with various styles who inspire me to improve and expand my skills. It has also been a great opportunity to showcase my artwork to the public, helping me achieve my dream of becoming an artist featured in an exhibition.

BIOGRAPHY Tidarat Tonasut (GungGaew), known among her school colleagues as Khun Gung, is a passionate artist who enjoys painting scenes of ladies surrounded by flowers in enchanting fantasy settings. Her art captures the beauty of humans and nature from an imaginative perspective, inviting viewers into her surreal world. Currently, she works as a Performing Arts Administrative Technician at Bangkok Patana School, where she supports creative projects and helps bring the arts to life.

Through her paintings, GungGaew expresses her emotions, thoughts, and beliefs through the characters of a lady and a rabbit, reflecting the beauty of special moments in her life and transforming every canvas into a glimpse of her dreams. She believes that art has the power to inspire joy and wonder in everyone who experiences it.

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Shadow Work, 2024 Light display

74 | WEERAPOL MOUNDEJ

WEERAPOL MOUNDEJ Photography is my personal passion, while my professional work involves light and sound. For this exhibition, I have created work based on my in-depth understanding of art, with light and shadow as key artistic elements. Light and shadow are fundamental elements in both art and photography. In the visual arts, they help create depth, contrast, and mood, while in photography, they are essential in shaping the overall composition of an image. Lighting can completely transform how we perceive a scene, from how we highlight a subject to how we define textures and details. On the other hand, shadows are often less noticeable, and most people don't recognise the importance and value of creativity within them.

The idea behind creating mixed media art for this exhibition is to creatively combine various materials found in everyday life to produce works with new dimensions and meanings, reflecting a perspective that is different from the usual. I used simple materials like an empty box, a piece of paper, and a torch, highlighting the creative potential of everyday objects. Through my work, I aim to communicate that everything has value, depending on how it is perceived, understood, and utilised. The use of various materials also allows me to tell stories or convey emotions in ways that go beyond just painting or sculpting. It creates new experiences for the audience, potentially stimulating thought or encouraging them to see things from a new perspective and realise that unrecognised materials can be used as powerful tools for creativity. This leads to a wide range of interpretations and questions, depending on the individual viewer.

The use of mixed media art is not only an experiment in terms of technique, but also an opportunity to discover new dimensions, reinterpret meanings, and reflect creative perspectives in ways we have never considered before. Creating art in this way invites us to reconsider and question the familiar aspects of our everyday lives, while also encouraging us to see the world from a different point of view. It fosters new conversations and challenges conventional ways of thinking that may limit our perception, expanding the boundaries of our understanding.

Being part of the TAPs Project has allowed me to experiment with various media, conduct research on materials, and explore new ideas, all of which have helped enhance my creativity and expand my artistic vision.

BIOGRAPHY Weerapol Moundej has been working as a Light and Sound Supervisor at Bangkok Patana School since 2017.

He graduated from SAE Institute, London, UK, and has a deep passion for photography, which he enjoys as a favourite hobby. He sees participating in the TAPs CPL Programme as a significant opportunity for personal growth, both in terms of enhancing his skills and artistic perspectives. The chance to exchange experiences with people from diverse fields inspires creativity and enables him to apply new concepts to his work, making the creation process more dynamic and engaging.

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TAPS RESEARCH INSIGHTS AND REFLECTIONS The Power of Creative Practice in Education

By Purnima Ruanglertbutr We know that schools are filled with talented staff who are passionate about their craft and subjects, many of whom already engage in artmaking. However, their artistic practices are often hidden within the confines or constraints of very busy environments. But what happens when we actively create professional learning opportunities to encourage staff to bring their diverse passions and interests from outside the classroom or office to the forefront? What positive impacts could this have on our well-being, teaching and working approaches, and school community and culture?

Much research demonstrates the invaluable impact that artists in schools have: current engagement in the arts fosters personal well-being, strengthens community connections and enriches pedagogical approaches (Ruanglertbutr, 2012; Ruanglertbutr & Imms, 2013; Ruanglertbutr & Imms, 2014; Silverman, 2006; Thornton, 2005).

To echo the sentiment of Sir Ken Robinson, a champion of creativity in schools: 'The human spirit is at its best when inspired by passion and purpose.' Doing what we enjoy and being in our element isn’t just about aptitude—it’s about loving what we do. True fulfilment comes not only from pursuing our passions but also from having the support structures in place to sustain them beyond our work environment.

TAPs Origins: Rooted in Groundbreaking Research Originating in 2012 as a pioneering research project entitled ‘Teacher Artmaker Project’ at Melbourne University, led by Associate Professor Dr. Wesley Imms (Principal Researcher) and myself (Co-Researcher), the project evolved to be called the ‘Teachers as Practitioners’ or ‘Teachers as Arts Practitioners’ Project. The TAPs Project tracks the impact of artistic practice on well-being, school community connections and teaching performance.

Originally focused on visual arts teachers in Australia, the TAPs concept has expanded into an international platform for educators across disciplines, with its first international exhibition held at Bangkok Patana School. Supported by workshops and exhibitions, TAPs encourages teachers and business staff to maintain active arts practices outside the classroom, showing that passionate educators also actively "do" and excel in their craft.

As Dr. Wesley Imms noted in his Foreword to Reciprocity: Learning from, Giving Back: Research Catalogue of the Fourth Annual Teacher Artmaker Project Exhibition (Imms, 2015), the multidisciplinary nature of a project of this kind is a growing feature: “Teachers who have a passion for their subject, and use that passion to continue to ‘practice’, are potentially the educators who will remain in our profession and bring an authentic, ‘do as well as say’ approach to the classroom. There exists a growing need to maintain a link between ‘the passion’ that brings us to our teaching – that is, our love of our subject of choice – and our professional practice during our teaching career” (Imms & Ruanglertbutr, 2012).

76 | THE POWER OF CREATIVE PRACTICE IN EDUCATION

TAPs is fulfilling that potential and attracting worldwide attention. Findings from the project have contributed to global discussions of integrating creative practices in education through published peer-reviewed journals, international conferences, and keynotes, such as in The Canadian Review of Art Education, Australian Art Education, The Journal of Artistic and Creative Education, the World Congress of Education, and the First International Artist-Teacher Conference in Oslo.

Artistic Motivations: Research Insights As an action research project at Bangkok Patana School, TAPs creatives participate in ongoing reflection through surveys, video interviews and exhibitions to inform professional development approaches. Findings from the May 2024 pre-exhibition survey with project participants, reveal that over 66% of those surveyed believe artistic production enhances teaching, promoting students' self-confidence, risk-taking, collaboration, and inspiring innovative classroom approaches. Participants feel more connected to their passions and integrate creativity into lessons, boosting student engagement. Additionally, 60% would like to see greater support for utilising the arts for well-being in schools, 91% expressed a desire to maintain or begin a consistent art-making routine, and 86% wish to think more creatively to foster innovative practices at work. When asked about their ultimate goals in participating in the CPL programme, participants shared personal and professional aspirations, such as: "To experiment, develop, and be able to apply the artwork that we create to my professional work at school."

"To bring creativity back into my life and build routines where I make time to commit to artmaking."

These insights highlight the clear benefits of creative programmes like TAPs on well-being and professional development.

Building Momentum: The Creative Process Through Workshops Over the course of the project, TAPs creatives participated in three ‘Learning 4 Learners’ professional learning workshops designed to spark intentions, foster connections, share inspirations, celebrate progress and support each other in achieving exhibition goals.

Workshop #1: Introduction to the TAPs CPL Programme Our first workshop in May 2024 ignited creativity as participants shared their exhibition intentions and celebrated a rich variety of artistic practices—ranging from textiles, photography, painting, music, embroidery and creative writing to sculpture and filmmaking—while focusing on sustaining artistic production amidst busy schedules. Participants explored creative influences, brainstormed ideas, and developed draft vision boards and initial action plans.

Workshop #2: Sharing Our Creative Journeys So Far In our second workshop (September 2024), staff showcased their artworks in progress from the summer and reflected on how these experiences are influencing their professional practices. This dynamic atmosphere encouraged discussion of artist successes and challenges, whilst advancing towards exhibition goals and written artist statements, which explains their work and concept.

It’s inspiring to witness the vibrant exchange of ideas across departments and faculties.

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Workshop #3: Celebrating Our Creative Journey Our third workshop in January 2025 celebrated participants' final creations, reflecting on their growth as artists and educators, envisioning future aspirations, and contributing to their professional development.

The Art of Balancing Creativity and School Life A common question asked of participants is, "How do you find the time to create amidst the demands of school life?" This ultimately leads us to consider why we create in the first place.

What drives our purpose? For some artists, creating supports work-life balance and offers therapeutic benefits, while for others, it is a vital part of their artist-educator identity. Sometimes, the creative process has not always been easy. Yet, persistence and resilience have been nurtured through excitement, determination, and accountability. These experiences mirror the same risk-taking, triumphs, and trials that our students encounter in the classroom. TAPs also demonstrates that art is not about perfection. Rather, it is about listening to the inner voice that says, "This matters," nurturing that voice, carving out time to create, and allowing our interests to shape personal growth and professional practice. Finding time to create is a journey in itself for the artists’ creative development.

Creativity is a combination of attitude and opportunity. The creative act must matter enough for us to pursue it, but it is also nurtured by environments that inspire us, and by recognising that teaching and art-making involve a kind of reciprocity—giving back to ourselves the same dedication we give to our students each day.

To echo the words of Sir Ken Robinson: "There’s a wealth of talent that lies in all of us, including those who work in schools. We must nurture creativity systematically and not kill it unwittingly.

You can be creative in anything—in math, science, engineering, philosophy—as much as you can in music, painting, theatre, or dance." This exhibition embodies that sentiment, allowing students and colleagues to experience our collective passions and the sensations of art-making. It highlights that learning is visible, engaging, and fun— in line with Hattie’s Visible Learning framework (Hattie, 2008), which reinforces the importance of making learning tangible and observable—and shows that creativity is not just an art form, but an essential part of life, teaching, and learning.

78 | THE POWER OF CREATIVE PRACTICE IN EDUCATION

Revealing Connections: Common Themes from Artist Reflections Curating five TAPs exhibitions to date has provided me with a unique opportunity to gain deeper insights into the experiences of participating teachers, and, for the first time with this exhibition, business staff as well.

The artists’ statements reveal how TAPs reignited their passion for art-making, providing a valuable balance to their professional lives. For some, like one participant, the programme offered "a fantastic prompt to engage in art-making during weekends and holidays," promoting well-being and reflection.

For others, presenting their work served as a liberating creative outlet—a meditative process with a goal and purpose. Many participants found inspiration in exploring new mediums and techniques, deepening their creative practices.

From their statements, common themes included connections to place, culture, nature, and environment, which is especially interesting in the context of an international school where diverse backgrounds often create unique opportunities for cross-cultural exchange, global perspectives and the integration of varied cultural influences into art-making and teaching.

The connection between teaching and personal art-making is strong. One educator noted that crafting helped them "step into the student’s shoes," reinforcing the importance of positive reinforcement and manageable steps. Kathleen Thompson (1986) highlights that focusing solely on coaching may cause educators to forget how to "play:" many teaching artists emphasise the value of experiencing the challenges of art-making, mirroring their students' creative processes.

This fosters a trusting, empathetic classroom, where teachers can share the difficulties of artmaking and encourage students to embrace mistakes and a growth mindset. Sharing successes and challenges with peers and students reminded teachers of the vulnerability and perseverance students display. The exhibition also underscores the intrinsic desire to express artistic practice, deepening participants' appreciation for the creative process. It highlights the importance of blending the worlds of teaching and art, with some teachers bringing their artwork into the classroom, inspiring students’ projects. By role-modelling, teachers embody qualities like honesty, trust, and compassion, nurturing lifelong learners and art appreciators. Interviews revealed that embracing the hybrid identity of teacher and artist fosters a deeper understanding of students’ experiences, a consistent theme throughout the TAPs exhibitions.

Furthermore, many participants recognised the value of input from peers, rare in the oftensolitary world of art-making. Sharing ideas and celebrating each other's efforts foster an interconnected creative community. The collaborative nature of TAPs has been impactful, with participants drawing inspiration from their peers’ dedication and creativity. As one remarked, "Being part of the TAPs community has been a huge inspiration, motivating me to stay committed." This sense of community positions participants as both mentor and learner, reconnecting teachers and education staff to their creative selves and modelling this journey for students and colleagues. The exhibition deadline also motivated many to complete their works, seen as both personal and professional milestones.

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Fostering a Culture of Creativity As we reflect, it is essential to consider how we can continue to nurture artistic pursuits and cultivate a thriving culture of creativity, inclusivity, and collaboration within our educational environment, one that also represents the cultural diversity of our staff and their expertise. We could explore how the power of arts can build a harmonious balance between teaching, work, art-making, and our individual lives. I hope the diverse perspectives of each artist and their stories inspire you to embrace and celebrate your own creative interests, and reflect on your own creative journey: What inspires you? What could creativity spark in your life?

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CITATIONS Deffenbaugh, C., Hatfield, M., Montana, V. (2006). Artist/art educator: making sense of identity issues. Art Education, 59(3), 42-47.

Hattie, J. (2008). Visible Learning. NY: Routledge Imms, W. & Grant, G. (2015). Reciprocity: learning from, giving back: research catalogue of the fourth Annual Teacher Artmaker Project exhibition, University of Melbourne.

Imms, W. & Ruanglertbutr, P. (2015). Teachers as ‘practitioners’: Researching some myths about ‘staying active’ during early-career teaching. Peer-reviewed extended abstract published in conference proceedings. World Congress on Education, Dublin, Ireland. October 19-21, 2015.

Imms, W. & Ruanglertbutr, P. (2014). Connections: Teaching, Art, Life: Volume 3 of Teacher Artmaker Project (TAP) Exhibition Catalogues, Melbourne Graduate School of Education.

Imms, W., & Ruanglertbutr, P. (2013). The teacher as an art maker: What do new teachers identify as 'the issues'. Australian Art Education, 35(1&2), pp. 81-92.

Imms, W. & Ruanglertbutr, P. (2012). Can early career teachers be artists as well?

Canadian Review of Art Education, 39, 7-23.

Imms, W. & Ruanglertbutr, P. (2010). The teacher as an art maker: A commentary on the current literature. Journal of Artistic and Creative Education, 3(2), 3-12.

Ruanglertbutr, P. & Imms, W. (Editor.). (2013). Sensations of Art-making: Triumphs, Torments and Risk-taking, Exhibition catalogue of the second Teacher Artmaker Project Exhibition. Printed in Melbourne.

Ruanglertbutr, P. (2012). (Editor). Crossing Boundaries: The Journey from Teacher to Teaching Artist. Printed in the University of Melbourne.

Silverman, J. (2006). Cross-Dressing: Educators as Artists. Teaching Artist Journal, 4(1), p.

32.

Thompson, K. (1986). Teachers as Artists. Art Education, 39(6), p. 47.

Thornton, K. (2005). The artist as reflective practitioner. iJADE, 24(2), 166 - 174.

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CREDITS With thanks to Bangkok Patana School for their encouragement and support towards this exhibition.

Purnima Ruanglertbutr: TAPs 2024-25 Exhibition Curator, TAPs Project Lead and Researcher Print and electronic catalogue graphic design: Pimpakarn (Jam) Abhinoraseth Editor: Purnima Ruanglertbutr Published by Bangkok Patana School, Thailand.

643 La Salle Road (Sukhumvit 105) Bangna Tai, Bangna, Bangkok, 10260, Thailand.

Printed in Bangkok, Thailand by NEO Printing & Packaging, NEO Digital Co. Ltd. 666 22 Sathu Pradit 58 Aly Bang Phong Phang, Yan Nawa, Bangkok 10120, Thailand. © 2025 Teachers as Practitioners Project (TAPs) Text © 2025 Images of art works © 2025, the artists.

Artist statements © 2025, the artists.

Front cover image: Kate McClenaghan Back cover image: Kate McClenaghan All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage and retrieval system, without prior permission in writing from the editor, copyright owner and publisher of this book.

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