Vipoo srivilasa biography sample paper
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Vipoo Srivilasa. Profile image from The Potters Cast
Vipoo Srivilasa, ‘WATER HYACINTH GODDESS I’, 2016, clay, gold luster and acrylic, 77 × 32 × 22 cm. Image from Artsy
Vipoo Srivilasa, ‘Sang Thong VI’, 2019, porcelain with gold luster, 26 × 20 × 11 cm. Image from Artsy
Vipoo Srivilasa, ‘Diety 11’, 2016, clay, gold luster and acrylic, 19 × 10 × 10 cm. Image from Artsy
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Vipoo Srivilasa
Wellness Deity
22 May 2021 > 22 August 2021
Tuesday to Sunday, 11AM > 4PM
Vipoo Srivilasa is a Thai-born Melbourne-based artist, curator and arts activist. Srivilasa works predominantly in porcelain but also in an inter-disciplinary manner, creating works on paper, mix media and bronze sculpture, as well as large scale public art. Srivilasa’s playful blend of 19th century European figurines and Asian decorative art practices often explores contemporary cross-cultural and migration experiences.
This exhibition presents the Wellness Deity Project, which Srivilasa undertook in response to the COVID-19 pandemic. This collaborative, community-driven project encouraged people to reflect on their experience of the pandemic. The artist invited people to submit a drawing of their Wellness Deity, a being that has a special empowering or protective power. Srivilasa selected 19 of these drawings to provide inspiration
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Contemporary deities: Vipoo Srivilasa and Ramesh Mario Nithiyendran
Elena Dias-Jayasinha
Vipoo Srivilasa, “Shrine of Life/Benjapakee Shrine”, 2021, mixed-media installation with five ceramic deities, commissioned for APT10, purchased 2021 with funds from the Contemporary Patrons through the Queensland Art Gallery | Gallery of Modern Art Foundation, collection: Queensland Art Gallery | Gallery of Modern Art, photo: QAGOMA.
Elena Dias-Jayasinha writes about two artists whose ceramic works invoke deities of inclusivity.
Soft steps, hushed tones, looking but not touching—the traditional gallery experience is not unlike visiting a temple. Both institutions house meaningful objects that, when brought tillsammans and arranged to a specific design, have the potential to transform our understanding of the world and our place within it. Although neither can promise a moment of revelation, both gallery and temple use visual cues to direct our attention and heighten our awareness. They resis