A GROUP EXHIBITION
JUNE 15 – AUG 6, 2017
NOVA CONTEMPORARY, BANGKOK
The four artists participating in this exhibition were not chosen based on the content or subject of their works which certainly go in the same direction. All four artists, Viriya Chotpanyavisut, Tanatchai Bandasak, Thakol Kao sa-ad, and Jaitip Jaidee have interests in different subjects and each artist’s work is clearly influenced by their own unique character.
In this exhibition, Viriya selected photographs of objects that can be found in public areas, taken with a watchful eye and at the right moment, to reveal something that most people never notice, and to find a link to his notion of “looking outward through the inside.” The photos quickly taken of the object and its surrounding have a special meaning that is meant to open up new emotional space for the viewers.
Tanatchai is interested in the relationship between space-time and our perception. His works usually arise from a series of coincidences he finds in his everyday life. Some events arouse his curiosity, making him question his experience and leads to “breaking down the event” to discover the relationship among the things that lead up to that moment. Through his experience and contemplation, he transforms and passes on these things through a variety of media, such as moving images, photography, and three-dimensional objects, as tools for his narrative.
Thakol’s paintings come from his photos that have been modified in a systematic way in line with his thought process. His works are characteristically abstract as a result of this creative process, and usually invite the viewers to interpret them in many ways.
From the constant and rhythmic stroke of her pen, meticulously filling up the space of the canvas to other works that have their special positions in the exhibition, many of Jaitip’s works require a lot of concentration and patience to create.
The exhibition highlights how the identity of the artists can also be clearly presented and revealed through their methods and thought processes, rather than through the “style,” “form,” or the physical works themselves.