USM PENANG, 10 April 2026 – The Ceramic Gold Stamping Workshop held recently at the Muzium & Galeri Tuanku Fauziah (MGTF), Universiti Sains Malaysia (USM) highlighted a growing cross‑border art collaboration between Malaysia and Thailand, reinforcing the role of contemporary printmaking as a medium for education, cultural heritage, and regional intellectual exchange.

Organised under the ‘Art Without Borders’ initiative, the workshop involved 20 participants from SMK Datuk Haji Ahmad Badawi, Kepala Batas, comprising one teacher and 19 students.

The programme was coordinated by the Curator of MGTF, Nur Hafizah Ab. Aziz, who ensured a structured hands‑on learning approach, introducing experimental ceramic printing techniques to the younger generation.

The main session was led by Thanistha Nunthapojn, printmaking lecturer from the Faculty of Fine Arts, Chiang Mai University and representative of the International Visual Artists Association of Thailand (IVAAT).

Her role extended beyond technical instruction, serving also as a cultural bridge by introducing traditional Thai printmaking practices in an interactive and transformative way.

Thanistha explained that the workshop focused on the ‘Ceramic Gold Stamping’ technique, a modern adaptation of the traditional Thai stencil printing method known as ‘Phim Chalu Lai’ (พิมพ์ฉลุลาย).

“This technique is rooted in Lanna visual heritage, especially decorative elements such as ‘Lai Rod Nam’ (gold‑layered lacquer motifs) and ‘Lai Kam’ (ornamental gold patterns in northern Thai decorative arts). In its modern adaptation, gold powder is applied through stencilling onto ceramic surfaces, producing fine motifs that combine technical precision with layered visual expression,” she said.

She further described the process as a way of “translating artistic thought into material form,” where imagination and intention are transformed from mental concepts into physical reality.

“This framework places art not only as a visual outcome but also as a cognitive process involving repetition, pattern formation, and direct interaction between artist and material,” she added.

The workshop also explored deeper philosophical dimensions, particularly the idea of restoration and imperfection.

“This approach draws inspiration from the Japanese philosophy of ‘Kintsugi,’ which repairs broken objects with gold, symbolising beauty in flaws rather than hiding them. In this workshop, gold was used as a metaphor for transforming imperfections into beauty, reshaping participants’ perception of ‘perfection’ in visual art,” Thanistha explained.

Meanwhile, Nur Hafizah emphasised that such programmes are part of MGTF’s broader curatorial and educational strategy to strengthen regional art networks and expand access to international artistic knowledge.

“Collaboration between Malaysian institutions and strategic partners from Thailand, including Chiang Mai University and IVAAT, reflects a continuous commitment to fostering cross‑cultural dialogue through practical, hands‑on learning,” she said.

The Ceramic Gold Stamping Workshop at MGTF demonstrates a contemporary art education model that integrates cultural heritage, material experimentation, and international exchange within a holistic learning framework.

This initiative not only enriches participants’ understanding of ceramic printing techniques but also elevates art as a medium for sharing ideas, identities, and broader regional cultural dialogue.

Original Text: PrivinKumar Jayavanan, Media & Public Relations Centre (MPRC), USM/Translation: Tan Ewe Hoe/Photo: Neoh Yong Jun & Jiang Jiaying, Intern@MPRC