Hirom Sculpture

Desirability

Mr. Nipon Smanmit

Introduction

According to the Royal Institute Dictionary, the word ‘Phi-rom’ means jubilation, gladness, and merriment. From my own interpretation, the definition of the word is broader and 2 can cover up to the feeling of joyfulness, content, blissfulness, delight, and overall relevant feelings.
The usage of ‘Phirom Sculpture’ communicates the work directly to audiences with the term regarding happiness, the work will not be interpreted into other senses, and also relates to recreation activities.

Conclusion

The core idea is not the perfection of the sculpture nor the delicacy. The work is only an evidence of the artist’s stage of mind, and the output is correct in the sense of provable science, which can be determined like other art therapy.
The sculpture prototype can be developed to be a creational activity which appropriate for relaxation, and it can attracts interests and gains popularity in a larger international scale.

Objectives Aims or Purposes

The work line is not particularly designed for the artist’s expression like other artists work, but this work is precisely designed to be the prototype of recreation activities which will bring blissfulness to our lives. The prototype is a practice of mindfulness, the essential of living which everybody should have. Moreover, if ones couldn’t get pleasure from any other sources, this practice should be one of the choices.

Process or Methods

The sculpture series were designed from a combination of two different concepts of working process which were largely contrasting from one another. Merging together, the consequence is a new sculpture called “Phirom Sculpture”. The two type of art were the assemblage of western postmodernism. Crafting from waste materials, the sculpture has an unusual look, combining with ikebana, the art from eastern world which is a Japanese Buddhism flower arrangement. The Zen philosophy is permeated in every stage of creation. This type of art has begun in 15th century and continued throughout history to the present time.
When combined with the two nature of contrast elements, the outcome is a sculpture series. The initial nature is a connection between controversial elements from waste materials or eclectic garbage, however the output form is very interesting and also catching attention. Though the look is relatively rough and raw like absurd behaviors from mad ones, in terms of psychology, it is an explosion of temper. Similar to the expression of an abstract art with the trace of a mad temper, however the sculpture used materials instead of traces. By connecting irrelevant elements without any reasons, the work is truly organic and this is another charm from the art, the beauty of contrasted context rather than the harmony of them all. I called this a ‘raw aesthetic’.
The second nature brought branches, flowers, and plant lineages combined with decoration, the sculpture was made to look more alive and blooming like natural plant growth. Furthermore, decorating with all the inventory pieces brings a sense of unity from the work. In details, the meticulousness part of the work was from consciousness stage, the core message of Zen Buddhism. This compartment is a part of an intellectual mind which doesn’t necessary need any interpretation. The feeling is about blissfulness and pleasure, they were happening while the artist was doing the work. The sculpture was created from two contrast and exceedingly different elements, therefore the balance was there in itself. As Chinese philosophers who believe in Taoism give their priorities to the duo power of Yin-Yang, I also believe in the balance stage of feeling while creating this sculpture, the practice of the work also gives oneself to the stage of True Dhamma. Therefore, the practice is called “Phirom Sculpture”.
Though Phirom Sculpture has the image of an internationalism art, it still remains the contents of Zen Buddhism from the east. Therefore, the sculpture consists of two parts which are the freedom by instinct part and the articulated conscious mind part, using new design practices.
1. Stability to consider the stability, starting from choosing materials for plants and flowers container, it is not necessary to choose the containers directly since unpredicted materials are more interesting.
These types of material refer to stability, the essential basic for all thing happening further, compared to soil which is the basement of everything. In Dhamma, it refers to the conscious stability of the mind, ones have no anxiety. In a practical way, one must monitor their conscious mind while choosing the materials.
2. Emptiness
The emptiness refers to space or the air, begins with choosing the elements that display the stage of emptiness such as various forms of branches, distorted branches can refer to unusual imagination. These distorted branches will give a sense of movement more than the straight ones.
However, imagination can be created from other types of line elements too, depends on the artistic visions that suite the situation. In practical way, to be benefited from the practice, ones should be imaginative and think about the stage of emptiness while considering all the branches.
3. Nature
This stage refers to the period of considering the elements from nature, branches, plant roots, stumps, flowers, and other vegetation. The smell of nature, cleanliness, and uncontaminated sense can make us feeling pleasant and lively. Nature bless all living things, even if using only forms and little compartments, it still gives the sense of blissfulness and life. Phirom Sculpture has prioritized the nature as much as mind fulness, therefore it is crucial that the practice must include nature awareness, even in different forms. Nature has mixed in every detail of life, even it appears very little in the work, the artist still have to be aware of the nature all the time. By that sense, the artist will approach nature more than ever.
4. Connection
Combining different compartments altogether to create the work, ones should consider the harmony of them all, visually and practically. In term of visual, the elements might not related obviously but the meanings might be harmonized. The work will be considered by the artist, if they are related in a sense of understanding, then the work is proceeded, since the practice weight on feelings more than object.
5. Fulfillment
The stage of considering errors of the work, depends on the feelings and visions of an artist. This is the last stage for reviewing, the artist can fill in more designs if appropriated. The artist can use materials and objects to touch up and fill in some errors of the work.