work coat

Glossy mango wood hosts a forest of flowers in a work of art by Nantana Sompamitre This exquisite bowl is lacquered inside and out; the green blossoms are etched by hand. She lathes the mango wood into the desired shape and coats it with lacquer. When dry, it is polished, and another coat is applied – up to twenty times – before as many six coats of pure lacquer are applied. The final layer is polished with powdered fired clay.

Glossy mango wood hosts a forest of flowers in a work of art by Nantana Sompamitre This exquisite bowl is lacquered inside and out; the red blossoms are etched by hand. She lathes the mango wood into the desired shape and coats it with lacquer. When dry, it is polished, and another coat is applied – up to twenty times – before as many six coats of pure lacquer are applied. The final layer is polished with powdered fired clay.

Glossy mango wood hosts a forest of flowers in a work of art by Nantana Sompamitre. This exquisite bowl is lacquered inside and out; the green blossoms are etched by hand. She lathes the mango wood into the desired shape and coats it with lacquer. When dry, it is polished, and another coat is applied – up to twenty times – before as many six coats of pure lacquer are applied. The final layer is polished with powdered fired clay.

A modern and elegant jar finely lacquered by Daeng Thanunchai. The concentric pattern, made of tones contrasting the black background, is an example of the artisan's modernization of lacquer works. A unique storage vessel for the den or office.

To complete this piece, raintree is firstly carved into the desired shape. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated up to twenty times, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

Daeng Thanunchai celebrates this lacquer container with concentric beige and russet circles on a black background. The piece is one of the artisan's latest experiments in lacquer work, as he combines traditional design with contrasting colors, resulting in a thoroughly modern adornment for the home.

To complete this piece, raintree is firstly carved into the desired shape. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated up to twenty times, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

This original vase is set on fire with bright hues of orange adorning its volcanic shape. Daeng Thanunchai handcrafts this piece from coiled bamboo, transforming the vase into a fascinating work of art with ancient lacquer techniques. A magnificent piece, this vase is the ideal housewarming gift. Not watertight.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from trees - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

A work of hypnotic beauty, this handcrafted pot adorns with rustic elegance. Daeng Thanunchai confides that to create this piece, he based his design on the idea of setting one's mind free - as if flying through the skies. The pot's neutral color is adorned by centrifugal flashes, resulting in a most versatile decorative item. Not intended to hold water.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

Like a scene of nature's chemistry, soothing green tones ascend this unusual vase in an evolution of expressive rings. Presented by Daeng Thanunchai, the piece revels in the glassy surface of lacquered design. A modern and original Thai accent for the home. Not intended for use with water.

To complete this piece, coiled bamboo basketry is carved into the desired shape on a lathe. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface, then the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

With an earthen finish, this handcrafted plate makes a characteristic addition to your home decor. The enigmatic swirls of color at once hypnotize and inspire, revealing the decorative beauty of this one-of-a-kind item by Daeng Thanunchai.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from trees and ashes of burnt rice paddy husks - is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

A natural combination of brown and black evokes the earthen mystique of this handcrafted plate. The enigmatic swirls of color at once hypnotize and inspire, revealing the decorative beauty of this one-of-a-kind item by Daeng Thanunchai.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from trees and ashes of burnt rice paddy husks - is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface and the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

Almost celestial, its spherical tendency drenched in vermilion mystery, this decorative vase intrigues with the sensuality of lacquered designs. From the hands of Daeng Thanunchai, the piece offers a flawless Thai accent for any home décor.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface. Then the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.

Centrifugal shadows adorn this pot, handcrafted with refined perfection by Daeng Thanunchai. Oval in shape, the pot is available in two colors, red or green, and exudes the intriguing beauty of lacquered bamboo. An original accent for a rustic décor. Not watertight.

To complete this piece, coiled bamboo basketry is firstly carved on a lathe into the desired shape. A mixture of lacquer - obtained from the Gluta usitata tree - and ashes of burnt rice paddy husks is then applied to the object. Upon exposure to air, the mixture dries to form a watertight seal that is polished before another coat is applied. This process is repeated until a rigid base is formed, and a final polishing is executed with sandpaper. Then several coats of pure lacquer are painted on the object, with drying periods in between each coat.

The work is partially polished with sandpaper according to a predetermined pattern - generally concentric - and a few coats of different lacquer colors are applied to the surface. Then the object is left to dry for a few days. The process remains identical for each ensuing color, alternating lacquering and polishing sessions until the design is achieved. The final coat is washed with water and polished with powdered fired clay, offering an irresistible sheen.