Semiotics in “Bai Na Karn” (Face of Time) by Chokchai Tukpoe

Abstract

This article aimed to study the series of artworks named “Bai Na Karn” (Face of Time) by Chokchai Tukpoe. One of artworks from the series called "Lom Hai Jai Sati” is selected for semiotics analyzing. Semiotics theories of Ferdinand de Saussure and Charles Sanders Peirce are used as an analytical framework. The artworks were associated with the names of pictures, catalogues, and artist interviews. The meaning of signs was analyzed for both denotation and connotation. In this article, the researcher presents the interpretation of semiotics in an artwork called “Lom Hai Jai Sati” (Breath of Consciousness) from “Baina Karn” (Face of Time) series by Chokchai Tukpoe. The result was found that

Chokchai Tukpoe was born in Nakhon Phanom. He had an interest in arts since he was a child. Chokchai Tukpoe was growing up among the conflicts and the wars. He saw the Vietnam-Laos-Cambodia war. The war impacted to his childhood feelings, on the other hand, it influenced him to create artworks. His artworks reflected peace, politics, government, life and society. Chokchai Tukpoe was known as the Isan Zen artist. For Chokchai Tukpoe, art is a self-development, a meditation retreat, a life reflection. He studied, did an experiment, and learned intuitive drawing. Chokchai Tukpoe is one of the driving forces in Isan arts circle. He is an Isan Cultural Heritage artist. The artwork "Lom Hai Jai Sati” Breath of Consciousness represents the semiotics within the framework of the named Bai Na Karn (Face of Time) series, including the Buddha image, eyes/eyebrows, nose, breath, and facial expression, concealing philosophical meaning. Exploring the semiotic significance of the artwork reveals the semiotic origins, and the inspiration behind the creation of Chokchai's artworks, which aim to communicate through his artworks.