Surrealism Issue

artemisia
ERUTAEF ERAMYAD :SNOISIV RUOY ETARTSULLI

with-animals-new-paint-by-number/
https://numeralpaint.com/products/surrealism-girl-
14 TIPS ON OIL
PAINTING The TRAVEL
DURING
PANDEMICS THROUGH TIME
of Night Terrors
Art Adventures: Issue of September 2021 on Artemisia focuses on young artists

Realms Within the REM from far future who explored the realms of dreams and

nightmares through the conception of Surrealism.

 cont ents
featuring.
Laiya Wachirapaet

Meet the Artist;

Artist Profile
Laiya Wachirapaet has been exemplified

as many different facets of a young

artist; she ameliorates her prowess
through the exploration of diverse genres
and mediums, acquiring and paving her
way as an artist through the years of her
artistic journey. Being an art-selective
student herself in the futuristic days of
technology and innovation, she has had
the privilege of being given inspiring
challenges in an assortment of chapters
and prospects. In the past two years, she
had explored Abstract, Portraiture,
Symbolism, and her latest piece,
Surrealism. Putting her hands down for
new artistry aspects, she has tried out
acrylic paint, colored pencil, graphite

A
great deal of her pieces have been circling
pencil, oil paint, and digital art.
the idea of elements of symbolism and the
mythology in Surrealism, some of her claimed
-to-be favorites relating significantly to her inner self’s
connection to the implicity of her reality and mind. Her
latest piece, the “Trials of Fright”, in the genre of a
movement called ‘Surrealism’, contains a theory of the
unconscious mind she has evidently illustrated in her
artwork.
'Trials of Fright' by Laiya Wachirapaet

Daydreams, nightmares, or even daymares; name it and find that it has been

How does ‘Trials within the course of human psychology throughout our entire history. A logical

theory of a dream that I would use, is the recollection of our memories in a non-
of Fright’ logical state of a phase of sleep that we experience every time we give rest to our

represent the bodies, represented as electrical brain impulses. However, the feature “The Travel

idea of Through Time of Night Terrors” focuses on the horror visions humans often

experience during their sleep, following along the course of time, from the 20th
Surrealism in the century back to today. As the smartest and most logical species on this planet, a

feature “The group of humans raised the question about the dreams we have in our most

Travel Through psychologically active time each day, and how come it makes absolutely no sense

according to the logic of all of our reality? And if they really are but the
Time of Night reformation of our memories in bizarre ways, what lies behind that absurdity we

Terrors”? witness? “Trials of Fright” denotes a composition of a nightmare, most vivid and

striking in my own recollection, that revokes multiple images from the unconscious

mind, made up of my own imagination; whether from descriptions of the

underworld that I’ve read, or the game of fears sculpted by the elements of horror

in my reality. Due to the fact that all dreams and nightmares revolve around the

foundation of our own realities and thoughts, they illustrate great significance to

our minds, showing us a path of imagery to the unknown parts of the human

unconscious mind and what truly lies behind all of our evolution.
 Your artwork is concerned with the unconscious state of
mind and reality- how do you process your own thoughts
and imagery of distant realities while creating your piece?

I’m one of the many people who object to dreaming, even when they typify as conventional ones. When I wake

up in the morning after a night of bizarre dreams, I resent coming back to reality as it is, requisitioning that the dream

never happened so I wouldn’t be caught up in it in the present. Regardless, during which some dreams are just my

untamed contrivance of creativity running through its most wildest courses, some of them have affixed me to

concealed and esoteric places I would have never unfolded if it weren’t for the conception of surrealism. ‘Trials of

Fright’, my latest piece and my very first since my arrival in this era, was the most enthralling nightmare of my life, given

that it has shunned me with scores of verities and pending questions hereof myself, finding beauty in what people in

theory have chosen to disregard. On no occasion have I reasoned myself as a victim of any phobias or traumatic

experiences. Yet in there, I saw the unison and concurrence of a world, dedicated to me; distinctively formed to

terrorize me. Surrealism in my notion, is the connection between our two selves, divided by realities to be perceived by

the eye and by the mind. Through imagery, we are able to depict the significant implications of the sleeping extent of

the human mind.

What were some elements that were influenced by your own era that developed
itself in your conceptions of surrealism in this period of time? How were the
elements incorporated in your artwork formed into the concepts of surrealism?

To begin with, the medium of my choice is technology from my period of time, where we were able to transfer the

beauty of art onto a digital platform with perfected techniques and elements that are embedded onto a device. Howbeit,

digital art itself is but a platform that is composed of the primary and originating art mediums, which I chose for my main

base to be oil painting, a medium I started exploring on my hands a few months back before I traveled through time. As for

the essence of the hidden realm that rests during the day and awakens during the night: To start, a clown, a decidedly

generic fear of children, arose as the leading character in my night terror, hounding me, axe in hand, aspiring to hunt me

down to my death. Consequently, as I was reflecting upon my process, I deliberated in disturbance that I had a

sequestered trepidation of the infamous clown icon of a fast-food restaurant that was established about 35 years from

now. An intelligible, red and yellow, brand-icon clown, that daunted me whensoever I went there, ploddingly entrenching

itself in my fear-raided mind. Comparatively, the world embodied innumerable alternative universes, all emanating from

the most intimate and bottommost of my ideation. I encountered a detailed and descriptive passage about the

underworld, its rivers, its suffocating air, and its traumatizing visions. And being the 10 year old I was, I slept on that

thought, and it went rushing towards my deepest roots. And the night of my dream, I saw the underworld, with the River

Styx, the monsters of ancient Greek, the blood-colored mountains, and the hazy air that fills your deepest voids with

unimaginable pain. Maybe I was scared of death. Or maybe I was fascinated by its horrific ways. Maybe even delighted by

its simple logic of sin and punishment, being the cynic I was born as. Was I scared of death to the point that I created a

game that comprises of all evil I put in my pandora box, all with the means to put my life to an end? Or was I prone to that

ending so much that it became my true desire to experience a trip through the world of death? A question that left me

confused by my own attraction towards hell; and in that hell was the Greek god of Love, Eros, who appeared in the book I

read. His actions showed the one truth that I believed in but resented, that love was as cruel as life itself. No matter what

kind of love, it can be betrayed, inflicted, and produced upon hate, jealousy and madness. All of these elements,

combined to create the confrontation of me against the dark realities I have carved in my sleeping mind. Thus, confusion

of the unknown sweeps the floors of Surrealism, making some sort of sense only to the owner of those realities, a portrait

of art, only capable of being appreciated if looked through the eyes of the unconscious mind that seeks the beauty of

truth. Every time a person perceives of my piece “Trials of Fright”, I wanted them to remember the greatness of the human

mind; its cognitive and its range that we limit by our visions. Most of all, to take wonder in the function of the mind, and