Art work in traditional Thai form or style was first popular among traditional or applied Thai artists. Some artists wanted to express their own feelings by means of the traditional forms and stories, for example, the Tempting by Mara, the Enlightenment, etc., but using an individual style. Some artists may still keep the form and content of traditional Thai style, while giving a feeling of aesthetic quality in the view of contemporary theory. Some artists break the forms and elements of the traditional Thai style to pieces, composing them again from some selected pieces which represent the strong feeling of the individual artist. The artist touches the image with lights, color and atmosphere. Some artists show a sentimental attachment to the fine old Thai culture which is presently decaying away. The painting of “The Defeat of Mara“ is full of the movement of myriads of related lines in the traditional Thai form. It still arouses sensibilities capable of catching the public’s feeling in the present day” Clearly, this group of artists have as their theme their own expression, but in a Thai way, by means of contemporary artistic expression and they have moved to their objective successfully.   That was the beginning for some groups of artists working with Thai traditional art. They reconstructed it in order to bring, in one way or another, the intuited self to expression and the viewer towards Thai culture. The art work of Apichai Piromrak at his first stage was of this same type. His further development came in creations of signs or important symbols of Buddhism, for example, Sema, Buddhism footprints, the Dhamma Wheel, or maps of the Wheel or Life. Apichai used new techniques with substance and depth, with weight, form and color, beautifully and successfully, to convey their meaning. Comparing the later works with those of the first period, we see that the objects of his art used to be the signs and symbols of Buddhism. That was a kind of traditional art. His later series are expressions of his feelings about those symbols or stories, instead. That is the way Asian or Western artists usually create from subjects in Buddhism. But Buddhism, is not the same thing as Thai-ness. Buddhism is not the only character of Thai art. The real impact that his two series of art works have on the public is his effort to link Thai-ness with contemporary expression. But how much he succeeds in “Thai-ness” is still hard to tell.What is more interesting, in his present art works, is his advance in to the core of Buddhist art. He has abandoned the shell of form and symbols with which he used to work, and he now enters into the heart of Buddhism.His techniques are adapted accordingly. He may use Tusche with water or oil in a lithograph, or water and clay, crumpled metal, or a patch of dried earth, etc., All these substances convey the meanings of Buddhism.In the first his abstraction of Buddhism appears in the shape of symbols, but later these disappear, leaving only disinterested objects such as: triangles, rectangles and circles. These geometric forms become his way of conveying the meaning of the changing world beyond human control. It makes one wonder exactly where in the works of Apichai is the “Thai-ness” for which he has been aiming, when he passes through the shell, deep into the core of the universal truth. Does he travel far enough to join the same path of other contemporary artists? It is true that the experiences he gains from his working intention and the form of “Thai-ness” that he has chosen will enable his work to bear its own special character; that, as a Thai artists, his work must be different from the work of contemporary artists from other nations? However, as one of his observers for a long time, I never hesitate to urge him to go on traveling his path. Art is the truth of life which must clearly be expressed from the direct experience of the artist in a proper context