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When I first entered the mookasan space at the back of Issaravinijchai main hall, the light was flair with faint traces of dust flowing in the air. The first prominent piece of furniture
there was a tu prakhampi or tu phratham. Under that light, the pattern and texture of the gold leaf lacquer on tu phratham seemed to peel off into layers. I could see how time had
worked its way on the gold leaf surface, pressing its existence as an ongoing progress of gold rust or gold patina.The changes are linear, though we cannot see with our bare eyes but the oxidation processes are happening all the time. Through time, oxidation creates new molecular bonding as gold rust layer on top of the gold leaf and at the same time breaking the old
bonds so the old surface decays. As a modern-day weaver, I still use some of conventional materials such as bronze and brass but with helps from technology to speed up weaving time. I use power loom to shorten the painstaking process of weaving but still apply ancient patina technique to speed up the oxidation process in order to create antique surface on my metal weaving.


Lecturer within the Department of Architecture at King Mongkut's Institute of Technology Ladkrabang. Additionally, Jarupatcha is the Founder and Art Director of Ausara Surface