Symphony of Light:
The Meditative Vibrance of Somsak Chaituch
by Viviana Puello.
Imagine walking into a canvas so alive it hums.
Not metaphorically—viscerally. As if each color note carries a frequency, each circle pulses like a heartbeat, and each pattern sings its own quiet song.
This is not abstraction for abstraction’s sake. This is Somsak Chaituch, and his art is not meant to be decoded—it’s meant to be felt. Visually rhythmic, emotionally elevating, spiritually rooted—his paintings are not just images. They are energy transmissions.
“Nature is so beautiful I cannot paint it. Therefore I paint my feelings for nature and use the forms and colours from my dreams.”
And what a dreamworld it is—kaleidoscopic, ecstatic, and rooted in a quiet, hard-earned wisdom.
“Nature-2025 # 2” 250x200cm by Somsak Chaituch.
Music for the Eyes
There is a tempo to Chaituch’s work. A visual cadence. These aren’t still images—they’re moving compositions. Circles don’t just float; they vibrate in syncopation. Lines don’t just divide space; they thread through it like melody through silence.
One might call it “music for the eyes,” but that would only scratch the surface. What Chaituch composes on canvas is not just visual harmony—it’s emotional frequency alignment. You don’t just observe his work. You begin to pulse with it.
“Nature-2025 #1” 250x200cm by Somsak Chaituch.
“Nature-2025 # 1” 250x200cm with the artist.
Patterns as Prayer
From afar, the pieces might appear playful—florals and circles in perfect repetition, stripes that seem to wink with nostalgia. But step closer, and you’ll see the devotion stitched into every detail.
His process is meditative. Not rushed. Not accidental. He works in layers—each one carefully considered, lovingly repeated. Some patterns are made by drawing thick lines of paint over and over, until the gesture becomes trance. Until it becomes stillness.
“The structure of the painting is layered in several layers of color,” he explains. “The details are made with meticulous concentration derived from deep meditation while drawing thick lines of paint over and over, making patterns like embroidery.”
And that’s what his work feels like: sacred embroidery. A spiritual threading of color, shape, and intention.
“Nature 2025 #4” 250x200cm by Somsak Chaituch.
A Life Paused. A Life Reclaimed.
This depth—this unmistakable clarity of presence—comes from experience few could endure, let alone transform into light.
After completing his formal art studies, Somsak’s career flourished. He received prestigious awards and a starting stipend from the Amsterdam Foundation for Visual Arts. His first museum exhibition was scheduled for 2007. The path was clear.
But just before the show, everything changed. Somsak fell gravely ill. Doctors gave him only months to live.
Faced with mortality, he chose not chaos, but stillness. He left the world of art and retreated into a Buddhist monastery, where he lived as a monk. Meditation. Routine. Silence. Peace.
Contrary to every medical expectation, his body began to heal. Slowly. Quietly. In the summer of 2013, he picked up his brushes again.
And with that return, he didn’t just resume painting—he rebuilt himself. Each stroke became a breath. Each pattern, a mantra. Over time, his joy returned. His voice became clearer. His style evolved—consistent, vibrant, unmistakably his.
This is not just an artist. This is a survivor. A seeker. A healer.
“Nature 2025 #7” 250x200cm by Somsak Chaituch.
“Nature 2025 #7” 250x200cm with the artist.
Color as Consciousness
Somsak doesn’t use color as decoration. He uses it as communication.
The reds don’t shout. They shimmer. The blues don’t cool. They breathe. The greens are not foliage—they are frequency.
Everything has purpose. Even when it appears spontaneous, the work is anything but careless. He often allows coincidence to spark composition, but once the image begins to form, it takes on a will of its own. The canvas begins to lead. The painting teaches him.
This is co-creation with something larger than the self.
A Practice in Joy
Chaituch’s body of work is a study in joy—not surface-level cheerfulness, but embodied positivity. That rare, rooted optimism that comes from deep presence.
His circular motifs—floral, solar, cellular—are not simply design elements. They’re symbols of cycles, of life, of interconnection. They remind us that repetition is not redundancy. It is ritual.
And in a world of noise, Somsak’s work becomes a sanctuary. It doesn’t overwhelm. It uplifts. Gently. Persistently. Truthfully.
“Nature 2025 #6” 250x200cm by Somsak Chaituch.
From Bangkok to the World
Based in Thailand, Somsak Chaituch has built a global presence rooted in something unmistakably human: the desire to feel good. His work crosses language, culture, and context—not because it is universal in subject, but because it is universal in energy.
Whether you find yourself in front of Nature 2025 #1, #4, or #7, the experience is less about understanding the painting, and more about letting it move through you. You don’t need to explain it. Your body already knows what it means.
Nature Reimagined
His series Nature 2025 does not attempt to depict nature in a literal sense. It doesn’t illustrate mountains or rivers or skies. Instead, it channels the vibration of nature—the flow of ecosystems, the balance of repetition and randomness, the echo of patterns in petals and constellations alike.
In his world, flowers are mandalas. Grids are playgrounds. Chaos becomes choreography. Nature is not something we visit—it’s something we are.
“Nature 2025 #5” 250x200cm by Somsak Chaituch.
“Nature 2025 #5” 250x200cm with the artist.
The Canvas as a Frequency Field
To call Somsak’s work “decorative” would be to misunderstand it entirely. Yes, it’s beautiful. Yes, it’s vibrant. But beneath the aesthetic is an energetic intention.
These works are fields of frequency. They do not hang passively on the wall—they radiate. They influence space. They recalibrate the atmosphere.
You leave them subtly changed. Lighter. Lifted. Aligned.
Joy Is a Discipline
In the end, Somsak Chaituch teaches us this: joy is not frivolous. It is a discipline. A choice. A creation. A rebirth.
Through every meticulously drawn dot, every looping line, every pulse of color, he offers the world not just beauty—but balance. Not just pattern—but presence. Not just art—but energy.
And perhaps that’s the real miracle of Somsak’s work: not just that it survived adversity, but that it now helps us do the same.
Viviana Puello
Editor-in-Chief
