Zen Teh
On the occasion of The Imperative Landscape (2023)
exhibiting at The Thailand Biennale in Chiang Rai
(Interview by Jennifer Teo)
I started practicing professionally as an artist some over 10 years ago, since my graduation from the School of Art, Design and Media at NTU. But if we think about art practice, in a broader sense, in terms of an acquaintance to art, and the interest in art, and also how practicing art is in relation to living life, (it is) even earlier than that, since I was a teenager, with the exposure to art education, and also with the exposure to being a vegetarian.
And I can see, from that point of view, how these two practices, whether it is practicing as a vegetarian, as an environmentalist, or practicing art, they are intertwined and they are ingrained in my life belief, and in the way that I approach anything.
When and how did you start practicing art?
Do you identify as a Buddhist and how strongly does Buddhism factor in your practice as an artist?
Yeah, I guess I can say that I am a Buddhist, but I mean in the strictest sense, the religion that I have subscribed to since young, it's actually a mix of Buddhism and Taoism, and it is called like heavenly Tao or in Chinese, 天道 (Tian Tao), which originated or spread from Taiwan and China, but mostly in Taiwan. And now kind of rapidly or widely spread in Southeast Asia as well.
This religion believes in Mother Nature, and there are different practices that combine some kind of Taoist influence, but also some of the Buddhist influence in terms of thinking about the concept of karma, the concept of practice integrating into life, of living life, but also kind of intertwined with the Taoist ritualistic practices. I can't say that I'm super devoted or staunch in this religion, but I think my life belief as an environmental artist, educator, and also being a vegetarian is quite aligned with Buddhism.Thinking about Buddhism in the sense of self-cultivation, being aware of ourselves in relation to the larger environment, micro- and macrocosm.rom that notion, I can see how I fit into the ideology of Buddhism. n recent years, since I started to understand, research and create works, based on understanding Southeast Asia, particularly in the region of Cambodia and Thailand, I feel that I have more affinity and interest in Buddhism and understanding how spirituality relates to culture and the environment.
So considering how as an environmental artist looking at not just the physical impact that environmental crisis or topographical changes in urban landscape affects the environment and people, but also in terms of intangible aspects of our being and our knowing.
How did you first start engaging with this place, Chiang Rai, or a more specific location in your art practice?
It goes back to this approach of understanding by experiencing. Embodied experiences are very site-specific. These are local knowledge, specific in terms of just the location, but even the time, place and when you are there - all of these are factors that affect our understanding. And in some ways, I guess, it also goes back to photography because photography capture particular moments, and is also very specific.That element of chance, of fate, or when and why we are there and how that relates to a larger context, in this specific period of time.
I started as a painter, but later in my bachelor degree, I specialized in photography. So, I think these are the influences that shaped my practice. Chiang Rai has been a very special place because that was the first location of an artist residency programme I engaged in as a professional artist.
That's like about 10 years ago. It was also the first project using site-specific research into the environmental impact or topographical changes due to rapid urban development in Chiang Rai. This opened up my interest to look at other rapidly changing spaces in Southeast Asia, which then I went to Bandung, Indonesia, followed by and Phnom Penh. Now I am really committing myself to focus my research and attention to the pressing issues in the Southeast Asia region.
Your works have a considered and quiet quality, seemingly inviting viewers to slow down and contemplate. Could you say a little about this?
My work begins with my observation. I think our knowledge should be more considered, beyond the intellectual qualities or through only cognitive ability to understand. I believe in how cognition is informed by our embodied experiences: things that our body tells us, the different senses of our body and our intuition. Different information and means of understanding are important to me.
I think it is this belief and approach that informs my art making, my installation work. Hence I try to bring that experience that I had, that observation to viewers. By getting them to experience it, and take time to feel it, I hope to share some of this knowledge and understanding with them.
In the additional resources on your website are videos of interviews with a nun, the abbot and the leader of a Christian church in the place. How do you see these videos in relation to your final artwork?
Unfortunately there are limitations in the site at the Thailand Biennale that poses some challenges in the display of my final artwork. The space is a sacred site for spiritual practices, for meditation, and does not allow any entertainment or related video content to be played on site.
The art in the exhibition represents an experiential and creative process that aims to foster a sense of connection between individuals and their broader environment. This makes it both meaningful and valuable as a work of art and a tool for meditation. The interviews conducted were crucial because they preceded the creation of this work and informed the conceptual exploration of how it intertwines art with astronomy. This relationship examines how ancient architecture embodies wisdom by facilitating a connection to the larger environment through sky observation. Ancient structures were designed to create spaces that enhance this experience, aligning with celestial bodies and cosmic principles.
Before arriving at this idea, I engaged in conversations with locals, including spiritual leaders from various major religions. Through these discussions, I learned that there is a common longing for connection to something greater, whether it be a being, a space, or a larger concept. This desire transcends individual beliefs, highlighting how spiritual practices and beliefs empower us to move beyond our everyday lives and seek deeper significance.
Speaking with these individuals helped me realize how profoundly some have transformed their lives, uprooting everything to pursue paths like living in caves or becoming monks and nuns, all in the pursuit of enlightenment and a deeper connection with something greater. This strong desire to transcend their everyday existence and contemplate the afterlife inspired me to reflect on how we can foster such connections. Many described meditating in environments like mountains or forests, emphasizing the unique qualities of these spaces as vital to their spiritual experiences.
These concrete examples greatly inspire my work. Additionally, I've studied the topography of mountains and how spiritual objects are displayed in these spaces where I've conducted interviews. This exploration reveals both ambiguity and a hierarchical context to spirituality in Thailand.
This work embodies layers of meaning through various physical elements. For instance, the precise hanging of arcs follows the sun’s path into the Vihara, while the outer circle evokes cosmic layers, reflecting the waxing and waning of the moon and even broader concepts of the universe. These layered aspects draw inspiration from the interviews I conducted and the embodied experiences I had on-site.
You also meditated in various sacred places and have included sped up videos on your website as well. Could you say a little about what you experienced during these meditations?
I aimed to use meditation as a means of understanding and empowering embodied experiences to generate knowledge. When discussing something as ambiguous and intangible as spirituality or our connection to nature, it’s challenging to convey feelings that aren’t easily seen or touched. For example, insights gained from interviews may not resonate until I engage with them on multiple levels—through physical experiences, mental imagery, or other forms of understanding. It’s only through these immersive experiences that I can begin to grasp their meaning. The meditation sessions I conducted were one hour long, and I sped up the video to illustrate how I engaged with these practices on-site.
It’s almost performative, but more importantly, it’s a way for me to study the site. Meditation requires us to sit with ourselves and develop a heightened sense of awareness, not just of our inner selves—our bodies and minds—but also of how our mind-body connection relates to our immediate environment. This practice allows for a deeper understanding of our relationship with nature and the environment, making it a truly environmental exploration.
I chose these sacred sites to better understand Thai spirituality. These locations are significant, offering opportunities to explore and experience what others have described as helpful in their spiritual practices.
What is Buddhist cosmology and which are the aspects which interest you the most?
I’m particularly drawn to Buddhist cosmology, such as the Mandala and the Dharma wheel. These concepts emphasize our relationship with the earth, the world, and the larger universe, including the layers of heaven and the hierarchy of existence, as well as the cyclical nature of life and the process of transcendence.
These themes are central to my practice. You can clearly see this exploration of circulation and hierarchy in my work at the Thailand Biennale.
Did you encounter any unexpected situations or receive any special rewards in the making and showing of this work?
I’m not sure what you mean by “rewards", but for me, the greatest reward has been gaining a deeper awareness and understanding of Thai culture and my own spirituality throughout the research and creation of this work. I’ve certainly encountered some unusual situations, and some experiences have felt quite spooky. Considering the many forms of spiritual practice, particularly in Buddhism, I’ve realized how varied and complex these experiences can be.
There are also elements of Hinduism and other belief systems present in Thai spirituality. I've learned that many Thais believe in spirits, which is quite common. One informal spiritual site I visited was essentially a car park at Doi Tung. My work for the Biennale focused on mountain topography and its relation to Thai spirituality, so I studied these sites closely and meditated there. I observed where people placed various objects and how they envisioned the landscape—considering what made certain rocks or areas more sacred or spiritual. This exploration revealed how different parts of the mountain topography hold specific meanings in people's spiritual practices and beliefs.
Doi Tung is a fascinating site because it developed organically; people chose the car park area, which is hilly and sheltered, as a perfect spot to place spiritual objects and pray to various spiritual beings. They erected monuments and sculptures of different deities, scattered throughout the landscape, creating a unique and meaningful site. While I approached this place with respect, following local customs of prayer and bowing, I realized that I might not have fully grasped the nuanced cultural practices. For example, there are certain areas I shouldn't cross if they are at a specific height, and I may have inadvertently offended local spirits or deities without realizing it.
One of my encounters was a spooky experience where I felt like something followed me home and lingered for quite some time. I struggled with nightmares and anxiety, feeling as if something was attached to me, and I even began to see images of these beings. To find relief, I sought help from one of the abbots featured in the interview videos, who performed an urgent ritual for me. These strange experiences deepened my understanding of Thai spirituality, highlighting that beyond the physical world, there are unseen forces at play. Just as nature has invisible elements like magnetic fields and gravitational pull, there are spiritual dimensions that extend beyond what we can perceive with our senses. This project has opened my eyes to the complexities of existence and the importance of being receptive to these deeper realities.
What were some of the challenges working on this work?
I faced numerous technical challenges during this project, especially since this is one of the largest installations I've undertaken. The space at Wee Han at Rai Chen Teh Wan is massive, with many distracting objects and elements. Additionally, the architecture features a very high, layered ceiling, and the space functions as a daily meditation center, which adds to the complexity of working there. These factors posed practical challenges regarding what could be achieved in this environment. For this installation, I collaborated with astronomer Dr. Mo May from Chiang Rai Rajabhat University, using an astronomical calculation app to accurately determine the hanging points based on the sun's path specific to this geographical location.
This level of precision required careful attention to the hanging and installation of the work. However, the local team in Chiang Rai, lacking experience with large-scale installations or Biennales, struggled with these demands. Although a larger team from Bangkok was involved, they were still relatively small and did not closely oversee the installation process, which added to the challenges I faced.
As a result, I spent over two weeks on-site, working from day to night alongside the team to address many technical challenges. I also experimented with new materials, such as ceramic, which I hadn’t used in previous works. The specific positioning and shape of the ceramic pieces were influenced by Buddhist cosmology and cultural motifs. Integrating this iconography with the precise demands of the installation posed significant challenges, requiring careful consideration of how to weave these elements together effectively.
The Wee Han has a specific practical use and is already oriented as a Buddhist site, which made it particularly challenging to reconcile and harmonize all these elements with precision for the installation. However, I’m grateful for the opportunity to work in such a unique space, as it pushed me to consider how my work could integrate into a functional environment while also being useful. The before-and-after photos of the installation reveal a significant transformation in the space, enhancing its atmospheric qualities. I also designed meditation mats printed with images of the surrounding forests in Chiang Rai, which further integrated various aspects of my research, including astronomical alignments and the connections between micro- and macrocosm in relation to nature.
Would you be making more artworks on this theme?
While I’m still clarifying this theme, I see myself using the insights and experiences from the Biennale—especially regarding spirituality, the environment, and culture—to inform future works. I’m in discussions with various curators interested in this project, exploring how to adapt my research and development approach to create installations in different cultural contexts.
I believe my research method fosters curiosity about local cultures and encourages alternative forms of knowledge production through a communal approach. By engaging with locals and understanding their knowledge and cultural perspectives, I can enrich my own practice and create work that resonates more deeply with diverse communities.
What do you wish the viewer to take away from this work and your work in general?
In this work, I aimed to encourage people to pause and consider meditation—not necessarily tied to a specific practice or school of thought. The goal is for them to sit, observe, and cultivate a greater awareness of themselves and their larger environment. I hope that the astronomical calculations integrated into the piece inspire a deeper curiosity about the vastness of nature.
Overall, I want to invite people to slow down, reflect, and understand their embodied experiences of existence in today's world. This reflection can help us explore how to connect more harmoniously with our environment.
Ultimately, I hope this experience influences the decisions we make in our lives and encourages us to consider our responsibilities toward ourselves and the environment.
Learn more about Zen Teh’s works at https://www.zenteh.com