ceramic workshop

Ceramic Workshops.jpg

sea children ceramics workshop

16th-19th march 2018

A pottery workshop like no other, led by renowned Thai ceramic artist Amornthep Mahamart in the luxuriantly green environment of Golden Buddha Beach Resort.

These classes are friendly and creative, and aimed at bringing out your inner potter. For four days, you will find yourself immersed in nature, getting your inspiration from the island to create works that bring its dynamic environment to life. You will make use of local resources, such as sand, leaves and seashells, working freely according to what inspires you, all the while benefitting from Amornthep's skills and expertise. Most of the workshop will involve hand building to create more natural and organic shapes.



The workshop is designed to teach you new skills but also to create a mindful and relaxing experience. Based around hand-building techniques, and a fun environment, it will suit beginners and intermediates wishing to explore the medium of clay. Working alongside Thai ceramic artists over these four days will also grant you plenty of opportunities for dynamic cultural exchanges.

To find out more about the experience, watch the video below.


8,000 THB      - workshop (payable at the resort)

20,000THB     - accommodation*, full board and boat transfer from Kuraburi Pier per person
                       (*5 nights in a garden villa, seafront villa will incur a supplement)

28,000 THB   - total price per person

the workshop will take place during 4 days: 16th,17th,18th and 19th March. to attend you need to check-in15th March 2018.
limited availability: maximum 20 persons. 

To enquire or book please contact Massi at or fill in the contact form below:

name *

artists in residence


Amornthep is a complete artist, a potter’s potter in his mastery of techniques – he devotes two months each year to teaching young ceramic students; and an individual thinker, painstakingly progressing along his very own and hidden lines. Steeped in the naturalist tradition, he wholly immerses himself into his work, most of which is then fired in one of the wood kilns that he has built at Sen Moo, his studio hidden in the hills of Mae Taeng.

Far from the agitation of Chiang Mai, on the edge of this small village, Amornthep spends his days steadily building a world all of his own. It is a very introspective work but also whimsical; sometimes poetic, sometimes funny, sometimes childish and at other times deeply serious. The words that recur in my mind writing this are meditative and poetic substance.

A lot of his work is inspired by raw nature and always somehow water, still or running, is the perfect foil for his work. Sweet shapes of nature, wispy grasses, flowers, rice .. they have all found their way into his art. Experimenting with materials to create new textures and colours on the finished forms time and time again. For a long time most of the colours came from the clay or the fire, very natural earthy tones with black yellow and red hues. More recently other colours are making a comeback in his work, more vivid, shiny and impetuous.

His larger pieces actually often consist of myriads of smaller shapes that are painstakingly assembled to create larger sculptures. Many of these curl up on themselves suggesting an inner world, or rather beautiful huge defences, protecting a private and secret inner sanctum.

Some of the heavier forms that he creates are adorned with lines; some like short and curled arabesques, and others long and recurrent, spinning onto themselves like the white cotton threads in a Buddhist blessing. Spirals are recurrent in his work, like ancient human symbols representing the path from outer consciousness to the inner soul, or symbolic of the link between the inner and the outer world. This notion of travel also takes shape in the mysterious boats that he creates regularly, heavy fortresses of clay adorned with patches of colour and engraved with sybilline scriptures.

And then not to be neglected, there are the sweet and naïve animal forms he uses to decorate the more humble teapots and jars for domestic use, all imbued with a delicate yet functional beauty.

It is difficult to summarise Amornthep’s work. A comprehensive knowledge of clay and firing techniques, a deep interest in print making combined with two decades of experience mean that he can apply his talent to many things, from a humble chawan to a huge three dimensional kinetic sculpture. But what runs at the core of his art, and makes him so special in the ceramic world, is the deep spirituality that underlines every thing he makes, large or small.

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somsak junto

Somsak Junto studied for a BFA in Painting from the Rajamangala University of Technology, before completing his MFA in Visual Art in 2015. His methodology and medium vary from pencil on paper to acrylic and oil paints on canvas. His artwork is exhibited in large installations with multiple pieces side by side, or stacked in huge tower-like structures. When describing such installations, Somsak stated: ”Each dimension of any single piece is charged variably and activated differently with others. In whichever way one would enjoy to have them installed, the essence is the same. “

Jirawong Wongtrangan spent 5 years studying and practicing the art of ceramics and printmaking before working at a wheel in a ceramics factory in Chiang Rai. After investigating opportunities in Chiang Mai, he was inspired to open his own studio producing one-of-a-kind hand-thrown ceramics, “Inclay Studio Pottery”, in 2011. He uses mostly natural Ash glazes and create patterns of color clays and themes from his surrounding landscape.

While ceramics are a traditional art in Northern Thailand, Jirawong's functional pottery is more contemporary than the pieces the region is known for. A graduate of Chiang Mai University, Jirawong’s modern style is based around repetition of patterns found in nature: “Like leaves, textile motifs, stones, and dots,” he said, “My inspiration is from everything around me. I’m focused on processes and throwing techniques more than on conceptual design.”

Jirawong Wongtrangan handcrafts beautiful clay potteries that are both functional and decorative. Every piece is carefully hand crafted and possesses a one of a kind design. They are thrown on the potter’s wheel, ironed into well-defined shapes and finished with a natural glaze.

Jirawong is famous for natural glaze techniques using bamboo and longan tree wood ash as well as rice straw and coffee grounds to create a palette of beige, green and dark brown. Using mainly quality clay sourced in Chiang Mai and Lampang, the ceramist also uses soil to create different textured pattern. Coffee addicts will love his glazed dripper in dark brown, which pairs perfectly with white mugs boasting a line pattern, his teacups adorned with graphics, plates in natural shades and his textured Chinese teacups and bowls.


Narongyot Thongyu

Big’s recent collection ‘A Child’s World in the Days of Adults’, 2014-17, was inspired by a visit to his hometown of Songkhla in 2012. Though incomparable with life in the city, for Big the beach in Songkhla is a place of fantasy and stories. His morning and evening coastal walks reminded him of his childhood collecting colourful beach debris and playing with his friends. Such memories are what inspired him to begin collecting materials from this same magical place and start recreating his childhood world from his imagination.

Though his work, he seeks to bring the world of his childhood into his adult life and bring the toys that were his friends back to life again. Big’s entire collection is borne of the wish to share his own personal world from the memories of his childhood with the modern lives of adults.

The reclaimed materials Big uses to create the toys that form his work anchor the memories of his childhood to the real world. Each item has its own story and history regarding where they came from and how they ended up as reclaimed materials being utilised in his artwork.