I began with an investigation of absurd machinery and the medium of wood. It is a commentary of the human dependency on machinery, influenced by Rube Goldberg Machines. ‘Pseudo-system’ is a work that displays our excessive reliance on systems by creating ideal, but purposeless machines.
My works were influenced at first by Rene Magritte’s ‘The Treachery of Images’ as I realized that my paintings were representative human constructions imposed on a natural medium. I progressed onto the central theme of “redefining nature” through human means. I was influenced by philosophical realism, the thought that we as humans are unable to perceive objectively, but merely through our subjective understanding of the perceived. My works became focused on creating discussion about what we perceive. It serves to highlight how humans are merely capable of subjectively understanding nature.
‘Rocky Landscape’ explores the literal and conceptual distance between a macro and a micro landscape. It displays that I am not an exception to the human perception by creating a painting of a macro landscape while observing a micro rock. “Tree-D” explores the human experience and emotion imposed on the concept of time. We try to create mathematical and physical theories to understand time, and the natural world. I explored the way we define the cosmic universe simply as repetition of a single theory, influenced by Hermeticism as in “As Above, So Below” and tessellations in Islamic art.
My current work has progressed to investigating the extent in which our understanding can influence the interpretation of our surroundings. I brought in unusual subjects such as decayed food to discuss as aesthetics and art, as in ‘Molded’. In the end I hope to remind us that we only are subject to our limits and liberations of our human perception, regardless of the objective setting.
Machine and Skeleton
My work has been focused on investigating a relationship between humankind and their environment—overall, my main question of interest was “How does the environment shape the human mind?” In my work, I explored this through creating “emotional” maps and landscapes, incorporating both physical and psychological elements of the human body and mind into the pieces.
This exploration began through photography of the human body and a layering of topographic maps of volcanoes of Washington State—where I lived most of my life—in a work titled St. Helen’s Pressure. Through this, I established a reflection of a similar pressure that grows both inside humanity as well as around us—for example, under the surface of the Earth in the form of volcanoes.
Later, my paintings of maps, inspired by New Zealand artist Robert Ellis, questioned the connection between human mentality and the physicality of a landscape in an attempt to become emotional reflections of the reality of the environment. These map paintings became personal as I painted Bangkok and Seattle, as I had grown up in both of these cities, which created a familiarity and sentimentality as my own memories and subconscious became woven into streets of both cities in the form of oil paint.
These maps, rather than being accurate or geographically true, were rather emotional reflections of my own landscapes and thus gained their own emotional “truths” in an expression of my relationships and connections to my surroundings - I had discovered that our landscapes become the crucial folds in our beings, as we are molded by their embrace.
St. Helen's Eruption
Chao Praya River
A Sinful Existence
Ambiguity is the central theme of my series of paintings and photographs. My work developed from ambiguous landscapes to one’s emotional state of mind.
How do you contain your anger? Do you suppress it? Or do you let it all out? The painting ‘Containment’ juxtaposes the suppression and expression of anger. The contrasting of the rigid and explosive strokes reveals one’s hidden emotions.
“I saw him open his mouth wide… as though he had wanted to swallow all the air, all the earth, all the men before him,” is a quote from Joseph Conrad’s Heart of Darkness, describing the speaker’s agonizing pain is included in the painting of ‘Suffocation.’
My art attempts this through putting realistic objects in unrealistic circumstances, where the ordinary is placed into the abstract. For example, part of my art is based on the Maslow’s hierarchy of needs. Two of the most basic needs for us to stay alive are food and water. In my piece “Appetite”, I presented this idea in an abstract way. The Samoan artist Fatu Feu’u influenced me in this piece of work as well, with the food on the plates represented by different shapes through a certain geometric pattern similar to Fatu’s in his art. The monochromatic tone of the piece brings a mysterious and uncertain answer to the audience, with an ambiguity extended by the abstract illusionist nature of the familiar foods surrounded by foreign shapes and patterns. Questions are therefore asked as a result of the uncertainty surrounding the shapes and their resemblances of food, with the black and white environment only adding to the surrealist atmosphere.
Stone and Feather
One, Two, Tea
As ambiguity plays a major role in the human condition I decided to choose the motif of war to further encompass in the human condition. In this series of pieces I stenciled and an assemblage of different objects conveys the human condition of war, such ironic valor, unsustainable loss and notorious unpreparedness.
Inspired Janine Antoni, who depicts human skin, how frail and hollow it was. I used the technique of leather molding, I was able to produce surrealist molds of objects which played roles in both military and civilian lives during conflict and was a representation of the casualties of war.
My art then ventured into the path of assisted ready-mades, influenced by artists such as Carlton Bradford and Giussepe Colarusso. The collection were a series of self-destructive obsolescence tools, depicting the overlooked tools of life and represents the “wrong tool” for the job, which also symbolized the ironic yet humorous aspects of human innovation.
Skin Collection I
Skin Collection II
Hard as Nails
Bury the Hatchet
According to Sigmund Freud, an individual’s psyche is separated into three different layers: the conscious, the preconscious and the subconscious. I want to use the hand as a platform to bring forth the concepts that are usually hidden or concealed below the surface of humans’ every day lives. Unlike most other body parts, the hand possesses a delicate structure that even a slight manipulation in its posture could completely alter the message that it delivers. As if it has a language of its own, the human hand is capable of being a powerful medium of expression.
In Reverse and In Between
Within the Great Wave
The juxtaposition between the “native culture” of Thailand and a foreign culture influenced my art. Through an urban environment I questioned what is lost and replaced, or lost and gained, when a culture has an impact on another. This resulted in works that explored the different aspects of a “culture clash” and the different perceptions that this offers.
My work has led me to research human moods and emotions from my perspective and to find a relationship between individual personalities and society. Because painting cannot include sound I focused on the expression on each face. Strong emotion without sound, that’s something I really want to show in each of my paintings. This is the style I called “Art of Silence", to show that some moods are better left unsaid.
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