The New Potential ชุดภาพถ่ายบิลบอร์ดระหว่างการพักคอยโฆษณาแผ่นใหม่ ภาพเก่าที่เหลื่อมซ้อนทับกันบนผิวป้ายเชื้อเชิญให้เราพิจารณาร่องรอยของสิ่งที่เคยเกิดขึ้น เพราะในความไม่ปรากฏของภาพ มีบางอย่างที่ปรากฏขึ้นมาแทนที่นั่นคือโอกาสที่เราจะได้มองบิลบอร์ดในฐานะอื่นมากกว่าการเป็นแค่ป้ายโฆษณา
เราจะเห็นบิลบอร์ดเหล่านี้ได้ตามปลายขอบฟ้า บนระนาบนั้นมี เส้น สี และคราบเปื้อนที่แต่งเติมเข้ามาโดยบังเอิญซึ่งทำให้บิลบอร์ดกลุ่มนี้ต่างไปจากป้ายโฆษณาทั่วไป ทุกวันนี้เราใช้ชีวิตอยู่ในยุคที่แทบจะเป็นไปไม่ได้ที่จะหลบสายตาจากป้ายโฆษณาที่ปรากฏทุกหนทุกแห่ง The New Potential อาจมีนัยเชิงต่อต้าน เพราะมันกำลังเสนอภาพที่ไม่ใช่ภาพ ไม่เกี่ยวข้องกับบางสิ่ง ทว่าเป็นความเป็นไปได้บางอย่างที่มากเกินกว่าสิ่งที่รู้ นั่นคือประสบการณ์
The New Potential presents images of billboards captured between advertisements, when remnants of previous adverts are exhibited upon their facades. Overlapping and layering in configurations that welcome what was to float back into focus, the compositions reveal rather than conceal the potential for new relevance and meaning to be communicated.
Prominently displayed across our horizons and built by color, line and happenstance, the only characteristic of their disposition that differs from that of typical billboard advertisements is the nature of their imagery. Our visual culture is one of excess, crowded with infinite content of material plenitude. The New Potential, in contrast and perhaps protest, proposes images that are not of or about something, but are something. What they offer is therefore the potential to have, rather than know of, an experience.
A means of encounter – signs of life.
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Rebecca Vickers (B. 1981, Madison, WI, USA) is a visual artist based in Bangkok, Thailand. She received her Bachelor of Science in Fine Art and graduated with academic honors from the University of Wisconsin-Madison in 2007, and an MFA in Visual Arts from the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University in 2014.She is a co-founder of LIV_ID collective, teaches visual art at Mahidol University International Demonstration School and plays guitar in the indie-pop band VIPED.
ปัจจุบันเป็น Design Director ให้กับ THE UNI_FORM สตูดิโอออกแบบที่เขาร่วมก่อตั้งกับ วุฒิภัทร สมจิตต์ คู่ขนานไปกับการทำงานศิลปะในแบบฉบับของตัวเองด้วยความแช่มช้าอย่างต่อเนื่อง มีแสดงงานในต่างประเทศบ้างประปราย
A guardhouse can either be viewed as small-scale architecture or as a large-scale art installation. Sometimes guardhouses are meticulously designed to physically and visually correspond with the spaces and the main buildings they are part of. It’s also very common to see factory-made or prefabricated structures, as well as those built by contractors, carpenters, steelworkers, or anyone who possesses the skill and experience to construct a simple structure. There are plenty of guardhouses that have been thoughtlessly set up using scrap wood and steel, resulting in those funny looking structures that seem out of place and unexpectedly amazing all at the same time.
While some guardhouses show evidence of thoughtful design and attentive construction, not all of them are able to satisfy everyones needs. Perhaps that’s why, under those security uniforms, we see the instinct of an interior decorator expressed in the ways that the space has been brought to life. Everyday objects can be found, from batons to fans, chair, calendars, ice coolers, kettles, rice cookers, and chess boards, etc. It isn’t surprising for a guardhouse to appear like a large-scale art installation, bringing a smile to one’s face thanks to the miscellaneousness of the everyday objects that it’s made up of.
This small space isn’t just somewhere one works, rests, eats, and sleeps; it reflects Thai identity and ordinary peoples way of life, doing their jobs and living their lives.
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Graphic designer and independent artist, Pariwat Anantachina had dreamt of becoming an architect since he was a student, but hadn’t been able to pursue his dream.
He’s currently the Design Director of THE UNI_FORM, the design studio he co-founded with Wutthipat Somjit, while at the same time he slowly and steadily works on his art and overseas exhibitions.
The birth of “Equilibrium” photo essay came from the photographer’s 7-year-long observation of a tree standing in the flooded land of Srinakarin dam.
The passing of time gradually deteriorates the tree’s once leafy stems. But what changes in the mind of the photographer after another encounter with the tree is a greater sense of tranquility.
Nature is telling us about the ephemeral existence of things.
Architectural photographer, Weerapon Singnoi of facebook page foto_momo and the explorer of old Modernist buildings tirelessly searches and observes large timbers with bizarre figures and unusual surroundings, and recorded are the empty spaces underneath those trees.
Obscure – people without faces, a photo set collected over 3 years of practicing photography by Piti Amraranga, an independent designer of o-d-a.
Removing the subject’s face is a technique that provokes the sense of surprise and is quite popular amongst street photographers. I am quite sure that photographers must have at least one collection of faceless people that were taken in their own style, perspective and point of view. It is a kind of a universal topic that I believe will last forever as per this quote “to enchant something is to partially hide it from seeing”
“Yonder” conveys a viewpoint of meaningful context surrounding architecture. It is an idea generated behind the photo shoot of Ketsiree Wongwan, art4d architectural photographer.
The photo essay represents three contrast situations in different contexts. The first set is titled ‘Bangkok-Periphery-Khon Kaen,’ a simple sequence of the similar angles of view in different places. The second “Mom-Dad-Kid” reflects the living of two different generations in the same fence of an extended family. The last titled ‘Intervenor’ brings you to a life of newcomers in an old context and, at the same time, to imagine when the old context would turn into a new context in the near future.
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