"DECHAWARASHOON" by DECHA WARASHOON English fonts that are easy to read, located on textures of various abstract coloured paintings, inviting us to slowly go through the pages. A place that must rely on memories, from the first page to the last page. The first letter that questions, to the last letter that answers. The difference between the process of "reading" letters and the process of "seeing" images seem to vanish when they go through a process of opening the book page by page. The textures and the traces of the artistic composition make us perceive the identity of the artist through artistic creation.

"DECHAWARASHOON" by DECHA WARASHOON English fonts that are easy to read, located on textures of various abstract coloured paintings, inviting us to slowly go through the pages. A place that must rely on memories, from the first page to the last page. The first letter that questions, to the last letter that answers. The difference between the process of "reading" letters and the process of "seeing" images seem to vanish when they go through a process of opening the book page by page. The textures and the traces of the artistic composition make us perceive the identity of the artist through artistic creation.

"A Visual Diary of My Parkinson Treatment" by ITHIPOL THANGCHALOK Tools, medical instruments for treatment of the artist's body are revealed together with simple artistic compositions. Beauty is created on unexpected materials : X-ray films, Chinese acupuncture needles, needles for abdominal injections, mixed with sudden drawings. Although ill, but the artist relies on his creative power, leading us to a state of beauty and happiness, revealing a path full of obstacles, but has a beautiful destination that maintains healthiness, is uplifting, and delightful.

"Still on My Mind" by PISHNU SUPANIMIT A feeling expressed intensely through a wooden book with a carved cover page and the gilded symbol of the King Rama IX (ภ.ป.ร.) on a vermillion background, giving a divine feeling. Opening the book, our fingertips can feel the gentleness velvet on the inside of the front cover, while our eyes see the image of His Majesty King Rama IX and Her Majesty Queen Regent Sirikit in their comfortable manners and a gentle atmosphere. The image recorded in the glass book which is transparent and mellow to our eyes, but strongly and constantly cherishes memories, leading us to the eternity of love and a love song which we hear softly in our hearts, like the background notes that sing gently through time.

"ศาสนสถานลพบุรีศรีสุวรรณภูมิ" by PREECHA THAOTHONG A utopia under the Buddhist doctrines is surely an ideal place for all people. A Buddhist pagoda is a symbol that keeps us in virtue and tells us to not cling to things. Lines and shapes that are obvious, blurred, bright, beautiful, and dynamic keep telling us to not be careless. The lotus flower shaped top which is bright and golden connects with the history of Suwannabhumi. Viewpoints towards the history of the nation that is in relation to Buddhist philosophies emerge. Letters representing a desire for an ideal condition keep us realize the truth of life.

"หนังสือคน" by KANYA CHAROENSUPAKUL Shapes of black books and front covers in various sizes are overlapped under a pile of completely burnt coal. The pitch-black colours of the coal and the books give us a deep visual feeling, while the textures of the coal vary from cracking to smoothness, blending together with the smooth and raven textures of the books. One who touches the work would feel that letters from some of the books guide them to the contexts inside, the same Memory and Beauty by Assistant Professor Chaiyosh Isavorapant 33 way that the small letters on the transparent sheets ; some have complete meanings, some leave spaces for the audiences' imaginations. Shiny embroidery creates contradictions in size, texture, and visual meaning to the work. A group of dark blue threads tied loosely with the knots in the center of the books look as though the threads gave some divine meanings to these books, to the endless process of knowledge, transforming from wood, to coal, and to flame with imaginary heat.

"Book and Finger Print" by VICHAI SITHIRATH A clear plastic box with fingerprints that are integrated or unfolding becomes a trace of electrical factors. The glow makes us think about the meaning of knowledge and the light of intelligence which are incomparable. The fingerprints make us think about the personal history of the artist and doubt how he thinks about the things aforementioned.

"A Book from His Majesty the King" by VICHOKE MUKDAMANEE The knowledge packed in the biography of His Majesty King Bhumibol Adulyadej that we love to follow is simply and powerfully expressed through a book with a yellow hard cover embossed with an image of the king. Without opening the book, we apparently know these meanings. A beautiful image of number nine in a Thai letter on a disc makes us think about an endless journey in new technologies on a vast and boundless background.

"Womb" by SRIWAN JANEHATTAKARNKIT A shape of book and a female pelvis give a meaning of the origin of human identities. It might not be impossible if it is not assembled from parts of knowledge. Similarly, parts of knowledge are not born from human identities. Under steadiness of meanings through a thoughtful wooden sculpture, giving both feelings of firmness and gentleness.

"Fly to Legendary Valley" and "Home in Legendary Valley" by PARINYA TANTISUK Two books, two sizes, assembled upwards with a single-side burnt wooden plates which are used as the front cover and the back cover. The outsides of the plates are burnt, or do they signify time and uncertainty? Doesn't matter what, the textures and the cracks of the burnt sides make us think about the past. The insides are left with spaces which are both plain and full of stains occurred through time. The spaces are painted, attached with materials, gold plates, and dried flowers which are mellow and harmonious to the eyes that we want to caress rather than merely see. The textures that have been through time and creative processes open the dimension of humanness which holds traditions, cultures, memories, and individual feelings at the same time.

"Faith and Fall" by PANYA VIJINTHANASARN Is it possible to question about civilization using processes of creation and aesthetics? A long leather plate with drawings and trace of drawings attracting the audiences to slowly go through the details on the pages. The torn and incomplete images, the lines which are both beautiful and incomplete represent an ephemeral condition which is the truth of life. The leather plate gives us a feeling of a strong protection.

"We Are Live in a Nationwhere" by PONGDEJ CHAIYAKUT Prints and drawings on mulberry papers which are sew into sketchbook form. The front cover is simple but the contents and the images in the book is intense. Repeated messages about people whose occupations are to destroy their own species are intense and clear. The images that we can't see closely and can't tell whether they are portraits or not incredibly give us an intense feeling by applying powerful images. The repeated drawing technique making the papers damaged and the etching technique appearing on some faces that are destroyed help convey the messages clearly.

"Aesthetics of Yoga Anatomy" by ROSSALIN GARST White front and back covers, handmade papers resembling embossed plumeria flowers and leaves. Opening the book, the first page reveals a person in a yoga movement overlaid with a glossy semi-transparent cloth, the page is cut, showing the next page, which reveals a skeleton in the same movement. Each of the 7 images is revealed as each paged is turned, metaphorically shows the personal biography of the artist whose a side or a part of life is slowly revealed one after another. The paper cutting technique with the application of a semi-transparent cloth makes us see another side of the creative process. Removal and vague vision strangely make the readable meanings more interesting. The audiences can interact with the work by interpreting this book and bringing the creative process to unlimited directions.

"Design by Nature" by AMRIT CHUSUWAN The space of the exhibition room has become one of the factors of the work. An arrangement of pages representing two transparent plastic sheets with pieces of papers and other materials in between. We are not sure whether the pieces of papers and materials were torn by the artists or naturally by time and coincidence of the world. Traces of memory are slowly revealed if we slowly look at the sheets piece by piece. Sets of memory that belong to the artist interact with the audiences who are in a position of the ones who choose which sheets to see, jumping to that sheet, back to this sheet, they have freedom to see, as though they read a book with no page that encourage the readers to create their own forms of books in their own memories.

"The Last Book" by THAVORN KO-UDOMVIT A thick 124-page book with a golden front cover makes us amazed by its front cover to begin with. Will there be the last book? When will books vanish from the world and the civilization when they must fight with radios, televisions, and computers? Books never ever faced more serious threat like this in history. Smart phones that can do everything emerge as we open through the book. The book is drilled through, creating a hole, from the first page to page 36. A smartphone is placed intentionally in the middle. But when we open the pages after page 36, expecting that we would find some descriptive texts or images, but we find nothing. Nothingness raises questions, rather than answers.

"Experiment for Storm Hail 2017" by YANAWIT KUNCHAETHONG A natural process of the materials touched by the artist. Traces from the experiments through time. The artwork created, relying on control and coincidence. Science and art meet at the artist's state of mind, creating ongoing traces through the processes of paintbrushes in various sizes and the saturation of colours and mixing agents. On varying textures, heavy and light, tiny dots of shining stars can be seen, some are bright, some are pale, the universe in imagination emerges through small printing media, gathered as a book.

"A Significant Page in My Memories" by WARAWOOT SHUSAENGTHONG A reproduced space of a canvas on a tripod and the related image in the front frame. The face that never vanishes from our minds contribute to a space in the artist's thought. The finished painting according to the sign of the artist. These invite us to sit in the mind, savoring the light-coloured memory. A mellow, beautiful space. When looking closely, a log with blooming flowers here and there are in the sight, mulberry papers and traces of gold colours back and forth, leading us to a space of memory we share as Thai people.

"ในภายใน" by CHAIYOT CHANDRATITA Speaking of a book that requires time to get "read" seriously, although it has many pages that are blank, and many pages that contain enigmatic stains. Nonetheless, the drawings on these pages are intense, powerful, and obvious, making the stains and the blankness become meaningful and act as equivalent colloquists. The messages conveying thoughts that require a serious read are emphasized and have the same level of importance as intention and success of a work of art. A print that we are familiar with gives a new meaning when displayed as a form that plays with how the book is opened. The blank spaces on the blank pages make the audiences open to themselves. The shapes that make the audiences think about blank spaces. The book that makes the audiences think about a bookless situation.

"King / Forever" by JITSING SOMBOON When a thick and heavy canvas is displayed in the form of a notebook, it requires a lot of attempt to open it. The first page represents an image of His Majesty King Bhumibol Adulyadej on a golden background, telling us what the main content of this book is. It seems like we don't need an additional description about what the empty and almost formless colours of the pages of this book are about. These contents are already in our hearts. Each colours encourages us to continue imagining by ourselves. This book is a beauty that doesn't need any images to describe what its contents are about.

"Dream" by NIPAN ORANNIEWESNA A book that is quite large and serious makes us expect the same level of contents inside. When we open the book, we find the Thai Prophecy Verse, we are therefore not that amazed, although it totally doesn't fit the context of this exhibition. Texts which are created on pages by perforating through the papers from the back invite us to touch and caress, and when we do so, it is as though our other senses towards this work become less important. When the first chapter of the verse ends, the second chapter immediately begins, but this time the perforations keep decreasing in amount, as though it kept getting harder and harder to catch the dream. Reality, within the depths of night, has no more substance than the lucent dream ; a Japanese poet has said this thousands of years ago.

"Collaged Idea" by SUTEE KUNAVICHAYANONT This book is more than handmade, it is also written by hands, glued by hands, and seems to be damaged by hands too. Letters from various fonts, along with handwriting from pens in various tip sizes. These things make us raise doubts about "formality". Or, does this work want us to think about how formal contents represented through this kind of media are? Let alone some letters that are blurred and almost readable or unreadable. Or, should we open this book and see what hides under the precariously covering paper? If there is nothing hiding under it, at least we know that there is nothing under it!

"Is Everything" by TEERAWAT NGARMCHUACHIT A simple wooden box leaving a space for an engagement ring with a book instead of an ordinary diamond on the top left and letters "is everything" on the top right. Marriage with knowledge is metaphorically a search for an understanding towards each other. The reader of a book has a right to choose what kind of knowledge in the book to read. Equally, the knowledge in the book has the right to choose what kind of its readers as well. This learning relationship goes throughout one's life.

"Prayers of Faith" by PHATYOS BUDDHACHAROEN A structure of a book reminiscent to a Thai scroll with a shiny golden front cover with two Buddha's footprints seen as walking on traces of 108 auspicious signs. Opening through the book, there are black pages similar to a black Thai scroll, printed with letters dealing with the meaning of life. Each red pulse line that goes across each page. Traces of letters, some are clear, some are faded, expressing the time that passes by. The personal history that is related to dharma. The body and the mind that travel through time. The periods of time, long and short, go relatively with the personal experience. The true universe is in the mind, rather than on the outside, which might be the question where we see a sign through this work of art.

"Thai Book" by APICHAI PIROMRAK This handmade Thai scroll is made of mulberry papers, already giving us a flashback to the old days. The work of art created by the artist on a white paper is located on the mulberry paper, inviting us to see the work in details. At the same time, all Thai letters from the first letter (ก) to the last letter (ฮ) and all Thai numbers are embossed with a white material, page by page, image by image, letter by letter. The history of the artist's identity and 36 the history of Thai sets of knowledge are connected in the present world to be transferred to the future, either in the form of books or in the form of other media.

"FACE – BOOK" by THONGCHAI SRISUKPRASERT A thin book covered in two sides with human heads. Letters that are inscribed on the skins express the pain, mentally, if not physically. Thought provoking messages expressed through the letters on the heads emphasize that humans hold both good and bad sides. Controllability and limitless emancipation. Processes of making art tend to drag humans into merit and that's why art has been together with humans in all ages.

"If There Was No Difference" by SAKARIN KRUE-ON A shape of a book that looks quite serious, like a classic book. Turning the first page that contains the book title and the author name, every page next to it until the last page contains a message also informing the book title printed in small letters. Only page numbers change. If this book challenges the way it is read, offering almost eternally repeated contents, its meaning seems to refer to some issues that circulate endlessly. The more it contains not enough letters to define a specific problem, the more it is open to a paradoxical interpretation against an attempt to search for a similarity.

"Seven Pincushions" and "Seven Pincushions on Hands" by VIMONMARN KHANTHACHAVANA An ordinary page of a book becomes astonishing by a decoration of several pins stuck on a print representing a pincushion. Through the book we find prints representing seven difference pincushions, pins, and scissors. These make us think about nothing more than tailoring instruments that belong to a woman or women. Knowledge from a generation inherited to another generation, and soft yet intense colours reflect feelings, more than definitions, with the female language and feminism. Some images portray a long-time period, as though the pincushions couldn't maintain their conditions and had to let sadness dominate them. The shapes change through time, like the hand image in the second print that has been traveling through time and various feelings. It's a trace of memory that is corroded with no return.

"White Book" by KUNJANA DUMSOPEE Dark pink silk threads used in various ways, papers cut in various shapes but all of them are elaborate and beautiful, soft and light materials overlapped on each other that make us hold our breath when touching them, connections of some paper pages that are torn even when lightly touched. Opening this book page by page, reading the pages pair by pair, through the meanings that inform the personal history of the artist; the history of feelings that is conveyed through art books. This book is not a "book" anymore.

"แผ่นดินของเรา" by TEERAWAT KANAMA Superimposed plains of beauty that seem to be seen through endlessly. Comforting traditional forms. Light and beautiful lines and colours. These contribute to an uplifting mental space ; calm and profound. An act of creating art contradict and an act of creating calmness in the mind ; do these two things contradict or get along with each other? Does it seem like this work leans to the latter choice : they get along with each other?

"Jindamane 2560" by NATTHAPOL SUWANKUSOLSONG Although we never expected them to be light as feathers, yet we never expected books to be heavy as we couldn't lift them up. Although we never expected them to be un-openable, yet we never expected books to be solid. Paradox of knowledge and rejection of knowing. Accesses and blocks seem to be a part of human civilization. Because humans have been holding paradoxes in their minds, and will continue doing it in the future.

"Book of Life" by TINNAKORN KASORNSUWAN Books are important and beneficial in human life because humans seek knowledge or answers to their questions in many ways, but the most effective and comfortable way is to seek knowledge from books. Cultivating young people to love reading books is therefore a door to the macrocosm. The world of readers is thus full of knowledge seeking and learning. Books are therefore the best source of knowledge and the supporter for humans, as though humans were insects which had to rely on crops in order to live.

"Collage" by WUTIGORN KONGKA An image of marble sculptured David's head by Michelangelo are made by several sheets of papers overlapped. Like human memories towards magnificent art are slowly collected and piled. The sheets of papers are different in colour. When looking closely, it is found that the books used to create this paper sculpture are art history books in standard editions, emphasizing the connection between the "standard knowledge" and the "personal memory." Although there are the parts which are different and imbalanced within both matters, but they also share the similar aspects and give us the same feelings.

"Life : Based on the Reality and Imagination" by TIPPANET YAEMMANEECHAI Human share a relationship with development of science and technology which lead our lives to rules of reality ; the rules which are caused by human seeking for the benefit from developed materialism. Being enamored with the material world is a cause of defected mind. Thus, a gathering of development of science and technology, together with art and cultures which is a representative of anima, will make us go beyond the confinement from superficial development, to an improvement of mind and thought, for the happiness of pure imagination.

"รฤก ละ วาง" by WIRANYA DUANGRAT A Thai scroll that is displayed vertically, rather than ordinarily horizontally. The front cover represents the Buddha walking, his upper body is covered with cloud and mist, and waves of colours which are hard to predict as though they struggled and were paradoxical. The next page represents an incomplete image of the Buddha, the cloud and the mist seem to work more and more obviously as we go through each page, as though the mind of the artist (or probably the minds of the audiences) was zoomed closer and closer. A small plate of iron is perforated and put on the left page with brown stains, working with a dried lotus leaf overlapped with a thin paper revealing the middle of the face, beside is a dried flower playing with an iron butterfly on the right page. The next page contains brown stains with holes in various sizes beside a dried Indian cork tree, displayed upwards and downwards. A combination of symbols, Buddhism and feminism. A disharmonious blend of symbols. It is as though there was a question towards some process that is hard to be said in letters and language. Consequently, the last pair of pages contains soft and airy symbols which are arranged correlatively at the top and the bottom of both pages. Small natural materials are attached rhythmically on the back cover, as though they answered that there was a way on them. The uncertainty of factors in various sizes, as though we were zooming various situations that the artist is representing in and out, as well as sharpness and blurs.

"จากดวงตาสู่ภายใน" by NAWIN BIADKLANG A book that looks like four notebooks arranged one by one, revealing the parts of the second, the third, and the fourth ones. The front cover of the first one represents a portrait drawing that is elaborate and firm with pen strokes creating deep and shallow textures all over the place that vary with each area of the face. Contrasting with the eyes that are obviously drawn, signifying the mind of the one who draws, following the idiom, "eyes are the window to the soul." The areas of the eyes that are punched through on this front cover are thus the inverted side, raising a question that deals with some circumstances, rather than answering completely everything. Through the eyes, one can see the name and the handwriting of the artist which are incomplete, signifying the messages, "I don't want anyone to know about me" or "I want to be more known," "please stay away from me" or "let's get to know each other." This is therefore a process of interaction between the artist and the audiences.

"หน้า ที่ไม่มีวัน จบ" by THANARIT THIPWAREE Pages that are assembled roughly consisting of portraits of the artists in various forms slowly reveal the straightforward character under the flow of human feelings that change. If portraits try to show reminiscence in a way, many portraits of a person thus show that person through time. Can we get to know someone through a series of portraits? In the senses of moods, thoughts, hopes, and even memories.

"The Passage of Time" by JINTANA PIAMSIRI A handmade book made of mulberry papers, with the sawn spine tattered and torn as though it had been dismissed. The uncertain aspects of each page; some are pieced together, some are openable and some are not. These pages are arranged in descending order, like a hill. On the edges of the papers, we are not sure that there are some brown traces or some burning marks, but what we can understand is the sorrowful feeling of the artist. The incompleteness of her feeling. The blank pages. Sadness that can't be washed way from her mind.

"Book – Notebook 1927 – 2016" by PRAKARN JANTARAVICHIT The numbers of the Buddhist era, 2470 – 2559, bringing on a thought about what the beginning of the first year and the end of the last year are. Opening the book, we find a paper keyboard with no details. The remaining pages, until the 53rd page, are left blank, like a blank memory, or otherwise, like an activation to acquire new memories, through this blank space.

"Siam Station" by SUEBSAKUN SARUNPUETI A white wooden box, when opened like a book, a memorial image of an opening ceremony of a train station in 1946 is revealed. 25 Years afterwards, a coloured map from a textbook that people in a past generation are familiar with represents a railway in which we know there hasn't been much improvement concerning the quality of trains or the amount of routes 46 years later. One of the failures of the modern development process is simply expressed, relying on media that have never been books and are pages from books.

"Sculp-Ture Today" by ANUPONG CHANTORN Books are related to contemporary art as they both go along the way contemporary art goes and also act as a tool to establish the contents of contemporary art. A change from a warm medium that has paper textures to a calm and heavy bronze material that challenges our perception. An openable book is not a book. An un-openable book is a true book. The meaning of disputation depends on the interpretations of the audiences. Same goes with what the ancient Western philosophers argued thousands of years ago: should books (some of them) be opened?