I Write you a Lot

I'm writing you a lot of things.

The I WRITE YOU A LOT. is the first solo exhibition of Nawapol Thamrongrattanarit from Bangkok. Exhibition'I WRITE YOU A LOT'. I write you a lot (ChiangMai) bbuayy. but I can give you a trial.

You will receive a pad/book made of lined paper and a comfortable and reliable ballpoint pen.


iRITE YOU A LOT. is the first one-man show of Nawapol Thamrongrattanarit from Bangkok. He has always researched new narrative structure in cinemas; he is committed to making the usual exceptional and to making movies that examine and question contemporary societal standards and their behavioral codes (often with the eye of Thai city youth).

This show will explore a new way of telling stories through alternate media, and the audience can see his stories in a new way, from the snapshots he has gathered during his recent years of travel, to life-scripts, to a fictitious, never-recorded story of the artist-garden.

During his time at the Faculty of Philosophy at Chulalongkorn University, Nawapol Thamrongrattanarit (born 1984 in Bangkok) began filming. His work has produced remarkable documentary and experimentally filmed shorts, among them Bangkok Tanks (2006), See (2006), Fran├žais (2009) and Cherie is Korean-Thai (2010).

Your way of writing these four epistles tells us a great deal about your personalities.

It''s the letter'l' when it's tied like this..... While, if you trace it like that..... It''s a letter't' when it's tied like this..... Shows no properties similar to a looped'l'. Instead, it indicates how delicate and paranoid the author could be. However, the letter't', if you trace it like that..... The narrow letter'y' of the slender'y' is not only a gift of friendliness.

On the other side, if you type the letter'y' like this, it shows that you probably have a large set of people. Long letter'y'? Is that a brief'y'? The dashed letter'i' shows that you don't like mess and attach great importance to details. This punctured letter'i' By puncturing the letter'i' with a circular pattern you show a childish and fun naturen.

You will find many responses to your question about "How to begin writing". About what should I work? I' m not an authority in any area, although I know a little of many.

As Johanna made me a novelist..... For me it was in the world of passion that I began to learn to write. There was no way I could crack it when I began doing my own belles. Wondering how to have enough self-discipline to be able to create myth. Nevertheless, early in high school where everyone floated in heavy work - and even before high school where I seemed to be the only one who studies all the smelly times - I thoroughly relished the few invention possibilities that came.

And I still felt that I was a natural author. Another one was a Japonese woman, Johanna, who reminds me of my family. It was the first I saw Joan in 39 foot of running turquoise as she uncovered a part of a fossilised bone with her own hand.

Something strange and astonishing began to happen for the first case as a writer: a personality of mine showed vital signs. What did he say? At first sight I knew a great deal about Johanna because somehow she was just like my family. So, I was really in love with Johanna before we got together.

Johanna, who was all of a sudden in the ship with him, began to stutter through excuses and explained that a sharks had got too near and was overreacting and pushing him into the warp. Joan had it with this unparalleled phenotypical push. She was embarrassed and embarrassed in her way of thought, a young woman as powerful and fast as she was.

For her it was boylike and therefore a disgusting characteristic of a young woman. Since then, it has been a lot of pleasure to write fictions. Though it never looks like work, I'm not a pro author yet, so how could it be? To write a fictional text is like a higher end - a kind of "vocation".

I still write about Johanna a few years after I met her. Well, if I ever get remunerated to write about her, it won't seem right. It' going to seem strange if I ever get the money to write about Johanna. Since I met Johanna, the only thing I really need is the script.

I' m fairly sure I have to be writing belles lettres to be lucky. However, the point I would like to make about Joan is the setting in which I found her: an informal setting in which the protagonist was free to act in an intelligent way, to become free, to make free decisions and to learn the inherent effects of her own decisions.

To me, the most difficult part of fictional letters and the most ignored is plots. I have been instructed that even in the university' s own courses of creativity it is ignored, probably because it demands an enormous amount of intellectual work and has a cause-effect relationship with capitalism: books. Most of the ordinary readers (like me) recognize the value of the action.

Contours seem to help, although Johanna won't stay with me for long. I' m working on directing Johanna's biography in the sense of a sketched, semi-determined action, so it ends in a "meaningful pagination" with an action, a few round figures and a sense that could lead a readership to take a new look at some of our most lame notions.

I welcome a convincing action as long as she bows down and takes a step aside for the characterisation and new concepts that come in. However, the truth - and this is the point at which I tell you all this - is that if I hadn't known Johanna in a place free of action and determination, I would never have become a novelist.

I would never have been enriches by my good-hearted, strong-willed, brilliant Johanna, if I had begun as a puppet player and not as a modest maker with regard and increasing affection for a "real" man with free will. For me it was in the world of passion that I began to write.

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