Radical Hope
Artwork Catalog

  • Sometimes, everything seems to fall apart. But perhaps it’s in that moment of fragmentation that we are reborn. Each pixel is not just an image, but a cry cast at the cold face of the system, the collapse of old patterns, the beginning of something new. To pixelate is not to disappear. On the contrary, it is to reconstruct oneself, to break boundaries, to liberate. We may shatter as we face traditional structures, but each fracture holds the seed of a new beginning.

    In the chaos, there is an order—just not the kind we’re used to. In this chaos, we don’t lose ourselves; we find ourselves. Every pixel carries the trace of moments when we broke free from our chains. As we shake off the weight of the past and are tossed toward the future, we remember both what we've lost and what we can recreate. Hope is not a straight line. It is a force that finds itself within chaos, uncertainty, and constant rebirth.

    Chaos holds both destruction and freedom within it. But we choose to persist within it. We fragment, but we don’t give up. We create our own path, our own truth. And every pixel is a silent yet powerful cry of this resistance, of this rebirth.

    Yonca Karaarslan, Türkiye

  • This piece is an exploration of the resilience and tenderness that is at the heart of all life. It is a celebration of the coexistence of the earthly and the divine, the reminders of beauty, hope and sublimity present in the most ordinary aspects of human existence, and in nature itself.  

    Danielle Boodoo-Fortune, Trinidad and Tobago

  • A woman is rowing a boat to release a flock of geese in the middle of the river, symbolizing the release of accumulated distress, sadness, and pressure from various stories under her feelings. She releases them at night, reflecting her sense of loneliness and her desire to keep this moment unseen by others. Among the flock, there are both black and white geese, representing the diverse feelings and stories of humans.

    Thanamon Wongsa, Thailand

  • Reflection on life as the year comes to an end once again. Deep within, I only seek peace from the things I once hoped for: love, faith, opportunities, and a new world.

    Thanamon Wongsa, Thailand

  • A story that speaks of simple tranquility,
    loneliness, and solitude. At the same time, it carries an underlying
    sense of hope and anticipation.

    Thanamon Wongsa, Thailand

  • Everyone has something sweet that represents their hopes, desires, and the drive to reach the finish line. Gummy bears symbolize sweet dreams. The impatient bird flies ahead, the horse pulls until its legs break, the rabbit is easily startled, the monkey is distracted and mischievous, and the pig is lazy and gluttonous. Each animal represents the feelings of the woman in the picture.

    Theerayu Srethapakdi, Thailand

  • A metaphor for women in prostitution who are forced
    to be chosen. The horse represents wildness and lust, acting as if selecting merchandise. The woman sits with her eyes closed, turning her body away but facing away, forced to be chosen. She sits on a chair with nothing binding her, able to escape but unwillingly staying.

    Theerayu Srethapakdi, Thailand

  • Victims in the chain of war, fighting back in the world of cruelty, a train that never stops like war and the cycle of victims. Violence is not the answer. Gentleness is the strongest force.

    Akkaraphon Monthathong (BonusTMC), Thailand

  • Hope is the greatest driving force of humanity. It is the path that connects the past, present, and future—much like the phoenix that can be reborn from its ashes at any moment. True hope is that which never dies; as long as we continue to believe and remain determined, hope will be reborn time and time again.

    In the image, the female character represents the master of her own destiny. She is akin to the Wheel of Fortune, Tarot card number 10, which symbolizes change, opportunity, and the ever-shifting nature of fate. Rather than allowing destiny to dictate her life, she chooses to seize it with her own hands—just as humanity can forge its own choices and shape its future through hope and conviction. “Sustainable hope” is not merely a fleeting dream, but a force that we create and steadfastly uphold, using our own hands to bring about the future we desire. Hope is life, and life is hope. As long as we have hope, we have opportunities, and we continue to exist in this world.

    Muai Jinla Sakongaraked, Thailand

  • It is true that in the path of our dreams, in every stage of life, there are always obstacles to face in whatever form. And those obstacles may sometimes extinguish your light of hope. But believe me, if you still adhere to your own path, no matter how many times the light goes out, the source of that light will never disappear and may light another candle in the future.

    Sujira Buangbon, Thailand

  • The works express the mind of the artist reflected from time to time the society situations. The metaphor of it works compared between the artist himself as an human being, who is pride, envy, gluttony, greed, lust, sloth, and wrath. To make art works is the way to cure his own mind. The technique of grass on terracotta shown us how hard to transform the soft clay to the hard rock. Process of life also not different.

    Dr.Jakraphun Thanateeranon, Thailand

  • A fleeting silhouette, suspended between presence and oblivion. This piece embodies the yearning for form—the struggle between becoming and dissolving. Composed of unraveling threads of light, the figure lingers in the liminal, caught between what is and what could be. It is a ghost of aspiration, an echo of identity unfulfilled, reaching toward existence yet never quite materializing. A meditation on self-perception, transformation, and the fragile boundary between reality and longing.

    — Juliah S. Champion, Thailand

  • Mihrap (1901) stands as one of Osman Hamdi Bey’s most controversial works, sparking outrage and even death threats due to its bold reinterpretation of religious and cultural symbols. While at first glance the painting appears to celebrate Islamic heritage, closer examination reveals unsettling details that challenge traditional beliefs. The most striking element is the presence of multiple holy books on the floor, a gesture considered highly disrespectful in religious contexts. Some speculate that the extinguished candle in the background symbolizes the fading grandeur of the Ottoman Empire, reinforcing the idea that the painting is not merely about faith, but a broader commentary on societal transformation. The woman’s posture—facing away from the qibla with apparent confidence—further supports an interpretation of defiance against Eastern religious traditions, presenting her as a figure of quiet resistance rather than passive devotion.

    Perhaps the most radical speculation surrounding Mihrap is the idea that Osman Hamdi Bey sought to express the superiority of women over religious dogma and societal constraints. Some interpretations suggest that the woman, possibly depicted as pregnant, represents the fundamental role of women in creation and existence. Her placement above the sacred texts could symbolize a hierarchy that places human life—specifically, the life-giving force of women—above institutionalized religion. Given the painting’s provocative themes, rumors persist that the original work was hidden or destroyed to suppress its message. Whether these interpretations are fully intentional or not, Mihrap undoubtedly transcends mere religious reverence, positioning itself as a daring statement on modernity, and the evolving role of women in an empire on the brink of change.

    Osman Hamdi Bey, Ottoman Empire