Paper

Student Artwork Guide

They know us but we don

Name Class Date

paphonsak la-or, They know us but we don (2015), Queensland Art Gallery | Gallery of Modern Art. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
paphonsak la-or wahooart.com/en/artists/paphonsak-la-or/
Artist’s dates
1981 – ?
Painted
2015
Medium
Painting
Original size
108 x 154 cm
Movement
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.
Period
Contemporary
Held at
Queensland Art Gallery | Gallery of Modern Art wahooart.com/en/museums/queensland-art-gallery-gallery-of-modern-art-brisbane/
Artistic style
Sharply realistic, conceptual
Notable elements or techniques
Text painted with dust
Subject or theme
Thai politics and history

In context

They know us but we don — paphonsak la-or

How big is it?

The original measures 108 × 154 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1980
  2. 1990
  3. 2000
  4. 2010

Shaded: the lifetime of paphonsak la-or (1981–?) ▲ this work, 2015

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #9ba9a8

    Catalogued palette

    • #9BA9A8
    • #C8D4DB
    • #394322
    • #707766
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    They know us but we don — paphonsak la-or

    A Quiet Tension in the Landscape

    In the evocative painting They know us but we don, Thai contemporary artist Paphonsak La-or invites the viewer into a world where the surface of tranquility masks a profound underlying unrest. At first glance, the composition presents a familiar scene of modern transit: a blue metal bridge spans across a highway, serving as a focal point amidst a landscape of lush greenery and moving vehicles. The presence of cars and a truck suggests the rhythmic, unceasing flow of daily life, while a solitary figure stands near the center, perhaps caught in a moment of quiet contemplation or waiting for a journey to begin. Yet, beneath this seemingly mundane depiction of infrastructure and movement, there lies a haunting sense of surveillance and hidden truths.

    La-or’s mastery of realism is not merely a technical feat but a deliberate narrative strategy. By rendering the scene with such sharp, photographic precision, he forces the viewer to confront the reality of the landscape. The blue structure of the bridge, stark against the organic textures of the background trees, acts as a symbol of human intervention and the rigid frameworks we build within nature. This tension between the man-made and the natural is a recurring motif in his work, reflecting his deeper preoccupation with how political structures and historical narratives shape our perception of the world around us.

    The Art of Social Commentary

    To understand this piece, one must look through the lens of La-or’s broader artistic mission. Emerging from Chiang Mai, the artist uses the language of hyper-realism to critique the complexities of Thai politics and history. This specific work belongs to a period of his exploration where he draws parallels between abandoned landscapes—such as those in Fukushima following the 2011 nuclear disaster—and the political silences found in his homeland. The title itself, They know us but we don, serves as a cryptic, unsettling provocation, suggesting an imbalance of power and a lack of self-awareness or agency among the populace.

    The technique employed here is nothing short of meticulous. La-or’s ability to capture light, shadow, and the metallic sheen of the bridge creates an immersive experience that draws the collector into the scene's atmospheric depth. For the interior designer or art enthusiast, this painting offers a sophisticated layer of intellectual depth. It is not merely a landscape to be admired for its beauty; it is a conversation piece that challenges the observer to look closer at the "peaceful" scenes they encounter in their own lives. The subtle use of color and the careful arrangement of elements create an emotional resonance that lingers long after the initial viewing, making it a profound addition to any curated collection.

    A Masterpiece for the Discerning Collector

    For those seeking to adorn a space with art that possesses both aesthetic elegance and intellectual weight, La-or’s work provides an unparalleled opportunity. The large scale of 108 x 154 cm allows the intricate details of the highway scene to unfold, making it a commanding presence in a gallery or a high-end residential setting. A high-quality reproduction of this piece preserves the artist's delicate touch and the heavy, atmospheric mood that defines his "Silent No More" era.

    Investing in a reproduction of They know us but we don means bringing into one's environment a work that embodies the duality of modern existence: the visible movement of progress and the invisible weight of history. It is an ideal choice for collectors who value contemporary art that transcends decoration to become a medium for profound reflection, offering a window into the soul of contemporary Thai artistic expression.

    Artist and museum

    Artist

    paphonsak la-or

    Born in Thailand

    The Silent Resonance of Paphonsak La-or

    Emerging from the vibrant cultural landscape of Chiang Mai, Thailand, Paphonsak La-or has established himself as a profound voice in contemporary Southeast Asian art. Born in 1981, La-or does not merely paint landscapes; he constructs visual inquiries into the very fabric of history and politics. His work is characterized by a striking, hyper-realistic precision that serves a much deeper purpose than mere technical display. For La-or, realism is a deliberate instrument of social commentary, a way to force the viewer to confront the uncomfortable truths hidden beneath the surface of seemingly tranquil scenes. He seeks to challenge accepted historical narratives and provoke a deep, often unsettling reflection on the societal shifts occurring within his homeland and beyond.

    The foundations of La-or’s aesthetic were laid during his early explorations of traditional Thai painting techniques. His initial fascination with batik and watercolor instilled in him a meticulous devotion to detail and a nuanced sensitivity to color palettes deeply rooted in Thai cultural heritage. This technical discipline was further refined through formal training at Chiang Mai University, where he mastered the rigors of drawing and painting. However, his true artistic evolution occurred as he moved beyond traditional representation toward a more conceptual approach, blending the beauty of the natural world with the grit of political reality.

    Symbolism in Dust and Detail

    What distinguishes La-or from his contemporaries is his ability to infuse the physical medium of his work with heavy symbolic weight. His compositions often feature painstakingly rendered landscapes—scenes that may appear lush or idyllic at a distance, only to reveal a sense of desolation or subtle unease upon closer inspection. A hallmark of his technique is the use of dust-painted text layered across his canvases. This choice is far from decorative; the dust acts as a powerful metaphor for erasure, decay, and the fragile nature of memory. Through this method, La-or embodies his core philosophical conviction: “Happiness cannot be simulated.” He strives to capture the raw essence of experience, presenting images that demand not just sight, but contemplation and questioning.

    This tension between the visible and the hidden is a recurring theme in his most celebrated works. In pieces such as They know us but we don't, he utilizes the imagery of modern infrastructure—bridges, highways, and moving vehicles—to mask an underlying sense of surveillance and unrest. The rhythmic flow of daily life is presented with such sharp clarity that it becomes haunting, suggesting that beneath the mundane movements of society, there are profound truths being obscured or suppressed.

    Global Echoes and Historical Significance

    La-or’s artistic reach extends far beyond the borders of Thailand, most notably through his poignant ‘Silent No More’ series. This body of work explores the devastating aftermath of the 2011 Fukushima nuclear disaster in Japan. By obsessively studying abandoned landscapes around Fukushima and Futaba via Google Maps, La-or found a haunting parallel between the quiet, uninhabitable zones of Japan and the political frustrations he witnessed in his own hometown of Chiang Mai. These works depict empty, ghostly terrains that mirror the profound silence left in the wake of tragedy, using the starkness of the landscape to confront the viewer with the consequences of human error and environmental catastrophe.

    His contributions to the international art dialogue have been recognized by prestigious institutions and exhibitions alike. His inclusion in the Singapore Biennial and his work featured by the Queensland Art Gallery & Gallery of Modern Art (QAGOMA) have cemented his reputation as a significant figure in the contemporary art scene. Through his unique ability to marry technical mastery with conceptual depth, Paphonsak La-or continues to push the boundaries of realism, ensuring that the voices of the past and the warnings of the present are never truly silenced.

    Museum

    Queensland Art Gallery | Gallery of Modern Art

    On show in Brisbane, Australia

    A Jewel of Brisbane: Unveiling the Queensland Art Gallery & Gallery of Modern Art

    Nestled within the vibrant heart of South Bank, Brisbane’s Queensland Art Gallery and Gallery of Modern Art (QAGOMA) stands as a testament to the city's burgeoning cultural landscape. More than simply a repository of artworks, it’s an immersive experience—a dynamic dialogue between past and present, local and international, traditional and contemporary. Established in 1895 as the Queensland National Art Gallery, QAGOMA has evolved into a dual institution, each reflecting distinct artistic visions while united by a shared commitment to fostering creativity and enriching lives. The gallery’s architecture itself is a captivating element, seamlessly blending with its surroundings and offering visitors breathtaking views of the Brisbane River.

    The core collection within the Queensland Art Gallery is remarkably diverse, spanning centuries and continents. Early holdings showcase colonial Australian art, including significant works by artists like John Lavery, whose evocative depictions of Brisbane’s social life offer a poignant glimpse into the city's formative years. However, it’s the gallery’s expansion into international art that truly captivates. You’ll discover masterpieces from European masters – Picasso’s “La Belle Hollandaise,” a vibrant exploration of light and color; Matisse’s “La Palme,” a bold celebration of nature’s beauty; and works by Monet, Renoir, and Van Gogh, each offering a unique perspective on the world. Beyond these iconic pieces, QAGOMA boasts an impressive collection of Indigenous Australian art, reflecting the rich cultural heritage and storytelling traditions of Australia's First Peoples – including intricate carvings and paintings that speak volumes about history, spirituality, and connection to the land. The gallery’s commitment to showcasing this vital artistic voice is a cornerstone of its mission.

    A Dual Vision: Gallery of Modern Art & QAGOMA

    The creation of the Gallery of Modern Art (GOMA) in 2006 marked a pivotal moment in QAGOMA's evolution. Designed by the renowned architect Robin Gibson, GOMA is an architectural marvel—a striking pavilion that dramatically contrasts with the more traditional style of the Queensland Art Gallery. Its undulating roofline and expansive glass façade create a sense of openness and invite visitors to explore its diverse collection of contemporary art. GOMA’s focus lies in showcasing cutting-edge works from both Australian and international artists, pushing boundaries and challenging conventional notions of artistic expression. From immersive installations to thought-provoking sculptures, GOMA offers a dynamic and engaging experience for audiences seeking to engage with the most innovative voices in the art world.

    Exhibitions That Spark Dialogue

    QAGOMA’s exhibition program is consistently lauded for its intellectual rigor and artistic ambition. Past highlights include “Surrealism: The Poetry of Dreams,” a captivating exploration of the movement's influence on artists like Dalí, Magritte, and Ernst; “Matisse: Drawing Life,” which showcased the artist’s masterful use of line and form; and “Andy Warhol: Revisited,” offering a profound insight into the pop art icon’s creative process. More recently, exhibitions such as "Archie Moore: kith and kin" have captivated audiences with their unique perspectives on identity and belonging. The gallery regularly hosts large-scale international touring exhibitions, bringing world-renowned artists and artworks to Brisbane, further solidifying its position as a leading cultural destination.

    Beyond the Art: Architecture & Community Engagement

    QAGOMA’s significance extends beyond its impressive collection and dynamic exhibition program. The gallery's architectural design—a harmonious blend of functionality and aesthetics—contributes significantly to the overall experience. The integration of the Queensland Cultural Centre, including the State Library of Queensland, creates a vibrant cultural hub that attracts visitors from across Australia and around the world. Furthermore, QAGOMA is deeply committed to community engagement, offering a wide range of educational programs for children and adults, fostering creativity and appreciation for the arts among all demographics. The gallery’s dedication to accessibility ensures that art remains inclusive and engaging for everyone.

    A Legacy of Innovation

    From its humble beginnings as the Queensland National Art Gallery to its current status as a dual institution—QAGOMA—the gallery has consistently demonstrated a commitment to innovation, diversity, and artistic excellence. Its ongoing evolution reflects Brisbane’s own dynamic growth and cultural vibrancy. Whether you're an art enthusiast, a collector seeking unique pieces, or simply someone looking for inspiration, QAGOMA offers a truly unforgettable experience – a journey through the world of art that will undoubtedly leave a lasting impression.

    Where to read more

    Find this online

    QR code linking to the download page for They know us but we don

    wahooart.com/en/art/download/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/

    Cite this artwork

    MLA
    la-or, paphonsak. They know us but we don. 2015, Queensland Art Gallery | Gallery of Modern Art. https://wahooart.com/en/art/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/
    APA
    la-or, paphonsak (2015). They know us but we don [Painting]. Queensland Art Gallery | Gallery of Modern Art. https://wahooart.com/en/art/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/
    Chicago
    paphonsak la-or. They know us but we don. 2015. Queensland Art Gallery | Gallery of Modern Art. https://wahooart.com/en/art/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/
    Harvard
    la-or, paphonsak (2015) They know us but we don. Queensland Art Gallery | Gallery of Modern Art. Available at: https://wahooart.com/en/art/paphonsak-la-or-they-know-us-but-we-don-D6G4XP-en/

    Look closely

    They know us but we don — paphonsak la-or

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: blue bridge, road, cars. Do you agree? What would you add, or take away?
    4. Look back at Silent no more (from (2015), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.