Midpoint: ubatsat

On art and spiritual practice
By Ian Tee

This article is a preview of the content published in CHECK-IN 2025, A&M’s annual publication. Stay tuned for the launch of the print edition and e-publication in June.

Midpoint is a monthly series that invites established Southeast Asian contemporary artists to take stock of their career thus far, reflect upon generational shifts and consider the advantages and challenges of working in the present day. It is part of A&M Dialogues and builds upon the popular Fresh Faces series.

ubatsat.

ubatsat (b. 1980, Bangkok) is an artist-activist compelled to share the stories of those in crisis. Manifesting in different mediums and scales, his works bear strong historical consciousness and speak for vulnerable communities. ubatsat has presented works in major exhibitions such as Thailand Biennale Chiang Rai 2023: The Open World, Yayasan Biennale Yogyakarta 17 (2023), Bangkok Art Biennale 2020 Escape Routes, among others.

ubatsat, Trainsong, 2021, exhibition view at Dream Space Gallery, Chiang Mai, Thailand. Photo by Seksit Charujinda.

Looking back, could you share a decision or event that marked a significant turn in your path as an artist?

Nine years ago, I suffered a serious accident when I fell from the roof of the house where I lived. In that state, I felt as if I were in a dream or another dimension, half-walking, half-floating in an unknown place. It resembled a beach on Fugløya Island in northern Norway during summer, enveloped in beautiful mist, like being in heaven. I regained consciousness the next day in the hospital. After about two months of recovery, as I began to improve, I decided to dedicate myself to artistic and spiritual practice.

What has been a milestone achievement for you as an artist, and why was it particularly memorable?

After overcoming various social and psychological crises, I was provided the opportunity to create and express those experiences through art. For me, this is a form of success that arises from personal experience. As for the ultimate goal, it is learning, because everything we do in life is interconnected. Our past actions shape the present, and by blending in imagination and reinterpretation, new creations are born.

ubatsat’s studio in a temple pavilion in Chiang Mai, Thailand.

Could you walk us through a typical work day, or a typical week? What routine do you follow to nourish yourself and your artistic practice?

I was a temple boy, living in a place where daily routines followed a structured practice, chanting, meditating in the morning and evening, caring for ailing monks, and sweeping leaves. It was a way of life, and things I did every day. Following these disciplines is, in essence, a means of nourishing my inner spirit. In my artistic work, I focus mostly on social themes. I keep in mind that everyone can share experiences, come together, and observe what is happening around us. I enjoy layering images and colours, overlapping volumes and forms to create a new sense of perception.

Could you describe your studio? What do you enjoy about it, and what do you wish to improve?

Thank you for visiting me at my studio last year. As you can see, it is essentially a temple pavilion, or a public space. The first thing to accept is that there is no privacy. People come by, watch, talk, and ask questions all the time. That is why I need to stay focused and be fully immersed in my painting, to bring my imagined visions to life. However, in reality, time is limited. I cannot wait for everything to become perfectly clear. If I did, I would not get anything done. Discipline is essential, maintaining a steady state of mind and momentum. Work is life, and life is work. Make every effort count, and above all, be patient.

ubatsat, Burmica, 2022, installation view in Living Another Future (2024) at MAIIAM Contemporary Art Museum, Chiang Mai. Photo by Karin Mongkonphan. Image courtesy of MAIIAM Contemporary Art Museum.

In that studio visit, you showed me sections that make up the monumental painting Burmica (2022) which was later exhibited in Living Another Future (2024) at MAIIAM Contemporary Art Museum. The work is presented alongside a digital interactive display that showcases archival materials referenced in the painting. Could you talk about your motivations for creating Burmica and your research process?

There are a few sources of inspiration behind Burmica: history, my personal experience and current events. Firstly, Chiang Mai, formerly Lanna, was under Burmese rule for 200 years, and Burmese influences remain deeply embedded in Northern Thai culture. I have spent nearly 20 years practicing meditation under Burmese teachers, and this has profoundly shaped my perspective. The ongoing civil war in Myanmar has driven many Burmese refugees to Chiang Mai, including doctors, engineers, singers, and actors. I have had the opportunity to speak with them, and more young people continue to arrive. 

For research, I primarily revisit historical texts while incorporating interviews and personal encounters. Burmica also includes interactive media, enabling users to engage with stories and information in an immersive way. The team at in-tangible institute curated this content exceptionally well, and better than I could have done myself.

ubatsat, Pilgrimage to Eternity, 2024, site-specific sculpture, Khao Yai Art Forest. Photo by Krittawat Atthsis and Puttisin Choojesroom. Image courtesy of Khao Yai Art.

Recently, you installed Pilgrimage to Eternity (2025), a commission at Khao Yai Art Forest (KYAF). The work consists of ten stupa fragments installed across different locations. Made of the soil of Khao Yai and placed directly on the ground, the sculptures will eventually be reclaimed by nature and fully integrated into the landscape. What is your relationship with the craft of stupa-making?

The shape of chedi or earth stupa is a form that Buddhists use to show respect for their ancestors or their homeland. Therefore, using raw earth is a fundamental concept in creating a relationship that harmonises with the integration of the “mass” of the earthen stupa into the landscape, making it a part of the “space”. From a mound of earth to an earth stupa, from an earth stupa back to a mound of earth, and eventually into a flourishing forest again; this process aligns with the spiritual growth of human beings. 

Another important aspect is time, which gradually transforms everything back into oneness with nature, until it becomes a unified whole. For me, this is craftsmanship: the continuation of tradition, a process of carrying forward, moving ahead without retreat, with mindfulness and care. This heritage has been passed down to me as knowledge from my ancestors, who have continued this practice for generations. I do not know who the first architect to design the shape of a chedi or stupa was, but according to Buddhist history, it originated in India. 

How were the locations for these stupas decided?

As for the construction site selection, it was determined by the KYAF project. However, for the exact placement of each stupa, I considered the direction on-site. But do you believe that every location seemed naturally fitting in its own way? In the past, building chedis or earthen stupas on mountains was a fundamental practice for communities in establishing settlements. It was an auspicious way to begin. In essence, it is about connecting two worlds—Dhamma and art—together with the spirit of the forest, allowing you to journey inward toward eternity on your own path.

ubatsat, Salt Buddha, 2022, exhibition installation view at VS Gallery, Bangkok, Thailand. Image courtesy of the artist. 

What has become easier or more difficult to do as time has gone by?

Nothing is difficult when you take action. You must do it with heart and imagination. At the beginning, you may have a rough idea of how things should look. But along the way, new discoveries can lead to something entirely different, such as flipping the perspective or rearranging shapes in new positions. Therefore, you should not limit yourself to fixed ideas of what something should be. Just start, keep an open mind, and let the process unfold. The results may bring new insights. Let your emotions flow, free your mind, and creativity will guide you. When you have a heart that is willing to give, nothing will be too difficult.

ubatsat, Green House in Snail Lagoon, 2025, exhibition installation view at FAZAL Unlimited, Bangkok. Image courtesy of the artist and FAZAL Unlimited.

What is your purpose, and how has it remained steadfast or evolved over the years?

The purpose has not changed. Everything I do is about doing what is right and creating something meaningful. Art is like a gift to people. I only hope that they receive positive energy from it, which in turn helps create change in society. I do not know how much it will grow or how far it will reach, but I will continue to create art to the best of my ability, channelling positive energy into the world through my work. It is an energy that keeps getting passed on. One day, I hope that people will discover the gems within themselves.

And finally, what would be a key piece of advice to young art practitioners?

I cannot give advice to others, but I would tell myself to love others, be selfless, and not take advantage of anyone. I would remind myself to have compassion, knowing that everyone shares the same cycle of birth, aging, sickness, and death. But the most important thing I want to say is this: everyone should practice meditation.

This article is a preview of the content published in CHECK-IN 2025, A&M’s annual publication. Stay tuned for the launch of the print edition and e-publication in June.