āđ‚āļ—āļĢ āđ€āļŠāđ‰āļ™āļ—āļēāļ‡ āđ€āļ§āđ‡āļšāđ„āļ‹āļ•āđŒ āļ•āļīāļ”āļ•āđˆāļ­ āļžāļīāļžāļīāļ˜āļ āļąāļ“āļ‘āđŒ

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YOU ARE CORDIALLY INVITEDMiranda Housden: Confluent📅 Exhibition: 19 October – 25 November 2026📍 Venue: Bangkok Universit...
06/10/2026

YOU ARE CORDIALLY INVITED

Miranda Housden: Confluent

📅 Exhibition: 19 October – 25 November 2026
📍 Venue: Bangkok University Gallery (BUG) SPACE 1
Surat Osathanugrah Library, C6 Building, 2nd floor

ðŸŽĪ Artist Talk
21 October 2026 | 11.00–12.00 SPACE 2

🎉 Opening Reception
21 October 2026 | 13.00

Water, myth and a changing city come together in Confluent, a new exhibition by British artist Miranda Housden, developed during her two-month residency at Bangkok University Gallery (BUG).

Through painting, sculpture and film, Housden explores Thai mythology, visual culture and Bangkok’s changing environment, creating a dialogue between Thai and Western cultural traditions. Her works reflect on cultural exchange, transformation, and the relationship between human and natural systems.

“Confluent demonstrates how artistic practice can create a dialogue between different cultural traditions while retaining their distinct contexts. Housden’s engagement with Thai mythology, visual culture and the contemporary environment has informed a body of work in which painting, sculpture and moving image become part of a dialogue around cultural exchange, transformation and the relationship between human and natural systems.”

ðŸŽĻ Meet the Artist-in-Residence: Miranda HousdenBangkok University Gallery (BUG) is pleased to welcome Miranda Housden, a...
01/10/2026

ðŸŽĻ Meet the Artist-in-Residence: Miranda Housden

Bangkok University Gallery (BUG) is pleased to welcome Miranda Housden, a British contemporary artist based in Cornwall, England, as part of the Bangkok Artist-in-Residence 2026.

About Artist
Miranda Housden is a British artist who studied sculpture at Falmouth and Chelsea Schools of Art before completing residencies at the British School in Rome and in Prague. She has exhibited across the UK, Europe and Asia, including solo exhibitions at the Arnolfini Gallery, Bristol; Carine Campo, Antwerp; Sammas Gallerii, Tallinn; and NovÃĄ Síň Gallerie, Prague. Her group exhibitions include Bangkok Art and Culture Centre and the 2022 Thailand Biennale in Korat.

She is a Fellow of the Institution of Civil Engineers and the Royal Society of Arts.

Housden’s multidisciplinary practice explores the connections between art, architecture, engineering, and the built environment. Her work brings together painting, sculpture, film, and collaborative approaches, reflecting her interest in how creative practice can connect different disciplines, places, and ways of thinking.

During her two-month residency at Bangkok University, Miranda will engage with students and the local community while developing new work in Bangkok.

Her exhibition called "Confluent" will be presented at BUG Space 1 from 19 October – 25 November 2026.

“Confluent demonstrates how artistic practice can create a dialogue between different cultural traditions while retaining their distinct contexts. Housden’s engagement with Thai mythology, visual culture and the contemporary environment has informed a body of work in which painting, sculpture and moving image become sites for examining cultural exchange, transformation and the relationship between human and natural systems.”

“Chance to Change āļ„āļ§āļēāļĄāļ™āđˆāļēāļˆāļ°...āđ€āļ›āļĨāļĩāđˆāļĒāļ™â€ 4 – 25 āļāļąāļ™āļĒāļēāļĒāļ™ 2569āđ‚āļĨāļāđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļāļģāļĨāļąāļ‡āđ€āļœāļŠāļīāļāļŦāļ™āđ‰āļēāļāļąāļšāļ§āļīāļāļĪāļ•āļāļēāļĢāļ“āđŒāļĢāļ­āļšāļ”āđ‰āļēāļ™ āļ—āļąāđ‰āļ‡āļĄāļĨāļžāļīāļĐāļ—āļēāļ‡āļŠāļī...
02/09/2026

“Chance to Change āļ„āļ§āļēāļĄāļ™āđˆāļēāļˆāļ°...āđ€āļ›āļĨāļĩāđˆāļĒāļ™â€
4 – 25 āļāļąāļ™āļĒāļēāļĒāļ™ 2569

āđ‚āļĨāļāđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļāļģāļĨāļąāļ‡āđ€āļœāļŠāļīāļāļŦāļ™āđ‰āļēāļāļąāļšāļ§āļīāļāļĪāļ•āļāļēāļĢāļ“āđŒāļĢāļ­āļšāļ”āđ‰āļēāļ™ āļ—āļąāđ‰āļ‡āļĄāļĨāļžāļīāļĐāļ—āļēāļ‡āļŠāļīāđˆāļ‡āđāļ§āļ”āļĨāđ‰āļ­āļĄ āļ„āļ§āļēāļĄāđ€āļŦāļĨāļ·āđˆāļ­āļĄāļĨāđ‰āļģāļ—āļēāļ‡āļŠāļąāļ‡āļ„āļĄ āđāļĨāļ°āļ„āļ§āļēāļĄāļ—āđ‰āļēāļ—āļēāļĒāļ”āđ‰āļēāļ™āļ˜āļĢāļĢāļĄāļēāļ āļīāļšāļēāļĨ āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢ â€œChance to Change āļ„āļ§āļēāļĄāļ™āđˆāļēāļˆāļ°...āđ€āļ›āļĨāļĩāđˆāļĒāļ™â€ āļˆāļķāļ‡āļˆāļąāļ”āļ‚āļķāđ‰āļ™āđ€āļžāļ·āđˆāļ­āđ€āļ›āđ‡āļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ–āđˆāļēāļĒāļ—āļ­āļ”āļĄāļļāļĄāļĄāļ­āļ‡āļ—āļēāļ‡āļĻāļīāļĨāļ›āļ°āļœāđˆāļēāļ™āđāļ™āļ§āļ„āļīāļ” ESG (Environment, Social, and Governance) āļŠāļ°āļ—āđ‰āļ­āļ™āļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļ°āđƒāļ™āļāļēāļ™āļ°āļžāļĨāļąāļ‡āļ‚āļąāļšāđ€āļ„āļĨāļ·āđˆāļ­āļ™āļāļēāļĢāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡

āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰āļĢāļ§āļšāļĢāļ§āļĄāļœāļĨāļ‡āļēāļ™āļˆāļēāļāđ€āļĒāļēāļ§āļŠāļ™āļĢāļ°āļ”āļąāļšāļŠāļąāđ‰āļ™āļĄāļąāļ˜āļĒāļĄāļĻāļķāļāļĐāļēāļ•āļ­āļ™āļ›āļĨāļēāļĒāļ—āļĩāđˆāļœāđˆāļēāļ™āđ€āļ‚āđ‰āļēāļĢāļ­āļšāļāļēāļĢāļ›āļĢāļ°āļāļ§āļ”āļˆāļģāļ™āļ§āļ™ 30 āļŠāļīāđ‰āļ™āļ‡āļēāļ™ āļ–āđˆāļēāļĒāļ—āļ­āļ”āļ­āļ­āļāļĄāļēāļ—āļąāđ‰āļ‡āđƒāļ™āļĢāļđāļ›āđāļšāļš Handcraft / Mixed Media āļ—āļĩāđˆāļŠāļ·āđˆāļ­āļ–āļķāļ‡āļ„āļļāļ“āļ„āđˆāļēāļ‚āļ­āļ‡āļĢāļēāļĒāļĨāļ°āđ€āļ­āļĩāļĒāļ” āļ„āļ§āļēāļĄāļ›āļĢāļ°āļ“āļĩāļ• āđāļĨāļ°āļāļēāļĢāļ™āļģāļ§āļąāļŠāļ”āļļāđ€āļŦāļĨāļ·āļ­āđƒāļŠāđ‰āļāļĨāļąāļšāļĄāļēāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāđƒāļŦāļĄāđˆ āđāļĨāļ°āļĢāļđāļ›āđāļšāļš Digital Art āļ—āļĩāđˆāļœāļŠāļĄāļœāļŠāļēāļ™āđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļĩāļŠāļĄāļąāļĒāđƒāļŦāļĄāđˆāļ„āļ§āļšāļ„āļđāđˆāđ„āļ›āļāļąāļšāđ€āļ‡āļ·āđˆāļ­āļ™āđ„āļ‚āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļˆāļĢāļīāļĒāļ˜āļĢāļĢāļĄ āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āļĒāļąāļ‡āļĄāļĩāļœāļĨāļ‡āļēāļ™āļ‚āļ­āļ‡āļ™āļąāļāļĻāļķāļāļĐāļēāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļēāļĢāđˆāļ§āļĄāļˆāļąāļ”āđāļŠāļ”āļ‡āđ€āļžāļ·āđˆāļ­āļŠāļĢāđ‰āļēāļ‡āļšāļ—āļŠāļ™āļ—āļ™āļēāļĢāđˆāļ§āļĄāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ•āđˆāļēāļ‡āļŠāđˆāļ§āļ‡āļ§āļąāļĒ

āļ„āļģāļ§āđˆāļē “āļ„āļ§āļēāļĄāļ™āđˆāļēāļˆāļ°...āđ€āļ›āļĨāļĩāđˆāļĒāļ™â€ āđ„āļĄāđˆāđƒāļŠāđˆāđ€āļžāļĩāļĒāļ‡āļ„āļģāļ–āļēāļĄāļ–āļķāļ‡āļ­āļ™āļēāļ„āļ• āđāļ•āđˆāļ„āļ·āļ­āļāļēāļĢāđ€āļŠāļ·āđ‰āļ­āđ€āļŠāļīāļāđƒāļŦāđ‰āđ€āļĢāļēāļ—āļšāļ—āļ§āļ™āļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āļ•āļ™āđ€āļ­āļ‡āđƒāļ™āļ§āļąāļ™āļ™āļĩāđ‰ āļ›āļąāļāļŦāļēāļ‚āļĒāļ°āļžāļĨāļēāļŠāļ•āļīāļ āļāđŠāļēāļ‹āđ€āļĢāļ·āļ­āļ™āļāļĢāļ°āļˆāļ āļŦāļĢāļ·āļ­āļ„āļ§āļēāļĄāđ„āļĄāđˆāđ‚āļ›āļĢāđˆāļ‡āđƒāļŠāđƒāļ™āļŠāļąāļ‡āļ„āļĄ āļ•āđˆāļēāļ‡āļĄāļĩāļĢāļēāļāđ€āļŦāļ‡āđ‰āļēāļĄāļēāļˆāļēāļāļžāļĪāļ•āļīāļāļĢāļĢāļĄāđāļĨāļ°āļ„āļ§āļēāļĄāļ„āļīāļ”āļ‚āļ­āļ‡āļĄāļ™āļļāļĐāļĒāđŒ āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāđ„āļ”āđ‰āđƒāļŠāđ‰āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļšāļ™āļœāļĨāļ‡āļēāļ™ āļ•āļąāđ‰āļ‡āļ„āļģāļ–āļēāļĄ āļ•āļąāđ‰āļ‡āļ‚āđ‰āļ­āļŠāļąāļ‡āđ€āļāļ• āđāļĨāļ°āđ€āļŠāļ™āļ­āļ—āļēāļ‡āļ­āļ­āļ āđ€āļžāļ·āđˆāļ­āļāļĢāļ°āļ•āļļāđ‰āļ™āđƒāļŦāđ‰āļœāļđāđ‰āđ€āļ‚āđ‰āļēāļŠāļĄāļ•āļĢāļ°āļŦāļ™āļąāļāļ§āđˆāļē āđ‚āļ­āļāļēāļŠāđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāđ‚āļĨāļāļ—āļĩāđˆāļ”āļĩāļāļ§āđˆāļēāđ„āļĄāđˆāđ„āļ”āđ‰āļ‚āļķāđ‰āļ™āļ­āļĒāļđāđˆāļāļąāļšāđƒāļ„āļĢāļ„āļ™āđƒāļ”āļ„āļ™āļŦāļ™āļķāđˆāļ‡ āđāļ•āđˆāļ­āļĒāļđāđˆāđƒāļ™āļĄāļ·āļ­āļ‚āļ­āļ‡āđ€āļĢāļēāļ—āļļāļāļ„āļ™āļ—āļĩāđˆāļžāļĢāđ‰āļ­āļĄāļˆāļ°āļĨāļ‡āļĄāļ·āļ­āđ€āļ›āļĨāļĩāđˆāļĒāļ™

āļ‚āļ­āđ€āļŠāļīāļāļ—āļļāļāļ—āđˆāļēāļ™āļĢāđˆāļ§āļĄāļŠāļģāļĢāļ§āļˆāļ„āļ§āļēāļĄāļ„āļīāļ” āļˆāļīāļ•āļ§āļīāļāļāļēāļ“ āđāļĨāļ°āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆ āđ€āļžāļ·āđˆāļ­āļ„āđ‰āļ™āļŦāļē "āđ‚āļ­āļāļēāļŠ" āđƒāļ™āļāļēāļĢāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āđ‚āļĨāļāđƒāļšāļ™āļĩāđ‰āđ„āļ›āļ”āđ‰āļ§āļĒāļāļąāļ™

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