A protector of dignity and self-confidence, a guardian of wellbeing and harmony, and one of laughter and simple pleasures, these are just some of the ceramic sentinels that comprise Vipoo Srivilasa’s exhibition, Iconic Figures: Devas, Deities and Divas. Marking 15 years of collaborative presentations with gallerist Edwina Corlette and her eponymous Meanjin/Brisbane gallery, the show spotlights new sculptures inspired equally by themes just blossoming within the artist’s practice today, as well as those that have sustained his celebrated career for more than two and a half decades. Playfully conceived by Srivilasa as a ‘greatest hits’ of sorts, the series utilises signature elements from his body of work. These include intricate floral motifs, coupled figurines, and the V-sign hand gesture that first debuted with Corlette in 2017.
Born in Bangkok and based in Naarm/Melbourne, Srivilasa views devas, deities, and divas as means of borrowing from the diverse cultural histories that coexist within his plural selfhood. As discrete spiritual and aesthetic categories of their own, these terms evocatively conjure an amusing array of discrepant images. In the artist’s words: “Bringing these figures together lets me celebrate all forms of strength, visibility, and identity, sacred and ordinary, ancient and contemporary. It is important for me to represent each one because they reflect parts of who I am and the community around me.” Rooted in Buddhist and Hindu traditions, the term deva is used in reference to spiritual beings typically associated with guardianship or protection, their ornate representation within places of worship inviting awe and reverence. Srivilasa jovially pairs these divine associations with the likes of global pop stars and his favourite drag queens, doing away with fruitless distinctions between high and low cultural forms while making space to explore additional themes of queerness, performance, and personal transformation.
For the first time in a commercial exhibition, the artist boldly introduces terracotta clay to his instantly recognisable palette of blue, white, and gold. Described as yet another bridge between his place of birth and country of residence, the red earthenware nods both to the iron-rich soils of Central Australia and to the Koh Kret village, a bustling island north of Bangkok, known for its production of traditional brick-fired pottery. Srivilasa has also incorporated aspects of his participatory artmaking practice into the show, previously reserved for the now-countless museum and public art engagements he has enjoyed in recent years. Visitors to the exhibition are invited to draw their own interpretations of modern-day and god-like idols, using a graphic of the artist’s symbolic flowers to start. Srivilasa has a modest target of hanging 15 of these new drawings in the adjoining space, commemorating each year of his creative relationship with the gallery. It’s safe to assume that the uptake will far exceed this number, auspiciously heralding a new chapter for their partnership.
“I first encountered Vipoo’s work in Melbourne during a period of immense energy and transformation in Brisbane’s cultural landscape,” recalls Corlette. “I had recently opened my own gallery and was actively seeking artists whose practices could connect with Queensland audiences, work that felt deeply personal and globally relevant.” Corlette credits Queensland Art Gallery | Gallery of Modern Art’s mighty Asia Pacific Triennial (APT) for setting the tone for a new era of dialogue around contemporary practice in the region. “I was eager to contribute to that conversation,” she continues. Of these early days, Srivilasa says, “I was lucky to join the gallery when we were both just starting out, and together we’ve grown our careers side by side.” The artist’s own inclusion in APT10 (2021-22) marked a significant milestone for both parties, honouring the international and cross-cultural resonance of Srivilasa’s creative voice, as well as Corlette’s patient and persistent cultivation of their association and shared audience. “She understands my love of cats, good desserts, and when I need to pause or shift gears creatively.”
Benjamin Clay, 2025
