Vorasan Supap
b. 1967, currently resides and works in Pathum Thani, Thailand

Vorasan Supap completed a vocational certificate at Ubon Ratchathani Vocational College in 1986 before earning a Bachelor of Fine Arts in Painting from the Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University, in 1990. He has sustained an independent practice ever since. In 2024, he contributed a painting to a charity auction in support of the United Nations High Commissioner for Refugees Emergency Fund, reflecting a continuing awareness of the social and humanitarian dimensions that art may enter.

Supap has exhibited consistently in both group and solo exhibitions. Selected group exhibitions include the Golden Jubilee Art Exhibition at Seacon Square in 1996, Asian Watercolours 95 at the National Gallery in 1995, the 1st Eastern Group Exhibition at Art Forum Gallery in 1992, the 4th PTT Art Exhibition at Silpakorn University Art Gallery in 1989, and the Young Contemporary Artists Exhibition on Silpa Bhirasri Day at Silpakorn University in 1987. His most recent solo exhibition, Life Along the River, was presented at MOCA BANGKOK in 2024, marking his first solo exhibition in twelve years. Earlier solo exhibitions include Life Along the River at Number One Gallery in 2018, Water of Life at Bangkok Art and Culture Centre in 2013, and a continuing sequence of exhibitions under the titles Life Along the River and Water of Life presented in Thailand and abroad.

Supap’s work emerges from a deep familiarity with life along the Chao Phraya River, a world absorbed from an early age. The Eiam Jun boat recurs throughout his paintings as a place of dwelling, labor, and human connection. Rather than describing these scenes with strict realism, he reconstructs them through memory, observation, and imagination, allowing atmosphere to remain central to the work. Saturated color, carefully modulated light, and tactile brushwork shape a painterly language that is vivid yet measured. In many works, the presence of Bangkok and its historic temples extends these intimate scenes toward a wider field of shared cultural memory. One of his significant works, 05.45, is held in the permanent collection of MOCA BANGKOK.

In recent years, his paintings have moved from broader views of river life toward a closer attention to the lived space of the boat itself. Women bathing, resting, or passing time together appear more frequently in the foreground, yet these figures remain inseparable from the riverine world that has long defined his work. What has changed is not the subject itself, but the distance from which it is seen. The city recedes, architecture softens into the background, and the painting turns more fully toward the rhythms of presence, intimacy, and shared habitation on board. His work continues to be rooted in life along the river, now seen at a closer range and with greater sensitivity to the subtle textures of everyday existence.