Farewell to Maman

Chompunut Nampa

A graceful farewell was bid to “Maman” on the evening of August 16–17 at Khaoyai Art Forest. After this final showing, the legendary sculpture by French-American artist Louise Bourgeois will return to its home at The Easton Foundation in New York.

The two-day event served as a dignified farewell to “Maman”, an international masterpiece. Beyond strolling through the forest to appreciate the artworks—an experience akin to a spiritual pilgrimage—visitors also enjoyed enriching activities. Among them was the Eco-Printing Workshop, where participants created botanical prints by pressing colorful flowers and leaves onto fabric, a process that sparked joy and creativity for everyone involved.

Another highlight was the Mandala Meditation Art activity, led by Chalisa Veerawan. She introduced the mandala—a circular symbol often seen as a representation of the vast universe—and reimagined it using natural materials from Khao Yai. Elements such as soil, compost, branches, and seeds were arranged into symbolic mandala patterns. Participants then molded the soil into Seed Bombs, to be dispersed into areas of the forest too deep to access on foot—a creative reforestation technique.

“Mandala means ‘circle,’ but its interpretation varies across cultures. At its core, however, it speaks of the universe and the cycles of life. If you go deeper, it’s about returning to your essence. Within the vast universe, we find our way back to our own center—our true self,” said Chalisa Veerawan.

What captivated the audience and drew prolonged applause was a traditional Khon performance presented through a contemporary lens. The scenes included “Sita’s Bathing Ritual” and “The Battle of Indrajit” from the Ramakien (Thai Ramayana), performed by Jitti Chompee.

Jitti Chompee explained that this Khon performance was a continuation of the Khon Kradet project by the Department of Cultural Promotion, Ministry of Culture, with performers from the Fine Arts Department.

“We carefully select specific episodes to highlight aspects that audiences outside the tradition might not expect,” he said. “For example, since this performance takes place in the forest, we chose to stage Sita’s Bathing Ritual. Or when performing near Maman, we selected a mother-and-child episode: the Battle of Indrajit, where Indrajit is struck by Lakshman’s Brahmastra arrow and returns to his mother, Mandodari, to drink her milk and heal. This scene resonates deeply with Maman, the giant spider sculpture symbolizing motherhood. With this perspective, traditional Khon becomes much more accessible to audiences.”

The evening concluded with a dinner prepared by Chef Wut, who oversees the Chef Cares project of Marisa Chearavanont, the founder of Khaoyai Art Forest. The menu was crafted with carefully selected ingredients sourced almost entirely from Khao Yai, leaving a lasting impression on the guests.

Marisa Chearavanont shared her reflections on the farewell to Maman:

“The vision behind creating Khaoyai Art Forest has always been about healing through the power of nature—fostering connections between people and the natural world, while embracing agriculture, food, education, and innovation. It is not an easy path, but we have strived to make it happen in the name of sustainability. Tonight’s dinner was not only beautifully presented but also prepared with ingredients sourced entirely from Khao Yai, offering complete nutritional value. I would like to sincerely thank all the guests for joining us and hope this evening has brought joy to everyone.”

It was a truly memorable farewell to the giant spider. While it is not yet certain which installation will take Maman’s place, one thing is guaranteed—the next piece will be nothing short of extraordinary.

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