GET TO KNOW RUNN CHARKSMITHANONT, AN ARTIST WITH A VISION OF BRINGING BACK (RERUN) THE LOST AND VANISHING TRIBES AND TRADITIONS OF THE WORLD BY ACKNOWLEDGING THEM THROUGH DESIGN

TEXT & PHOTO COURTESY OF RERUNN

(For Thai, press here)

WHO

Runn Charksmithanont, my artist name is RERUNN.

WHAT

‘RERUNN’ comes from the idea of bringing back (rerun) the lost and vanishing tribes and traditions of the world by acknowledging them  through design. And I added another ‘n’ so it would also have my first name ‘Runn’ in it.

WHEN

I have been constantly developing since 2019.

WHERE

I’m based in Bangkok, sharing my studio space with my co-founded architectural studio.

WHY

I’m really not sure when this fascination started. But since childhood, I’ve always been surrounded by books about wildlife animals and shelters of different tribes (book name ‘Shelter’ written by Lloyd Kahn). Naturally I developed appreciation for this kind of vernacular beauty and started to look more into the people of its context. Their unique aesthetic elements which were culturally developed with their lives became the main point for me to observe, capture then reinterpret and design.

How do you define your own style of work?

I like to think that my works are retro-futuristic. The inspiration in itself is from the old and ancient but comes to life with the help of technology along with my design language which has been developed to appreciate the complex surfaces of industrial design and architectural design. I work in different mediums, both 2-dimensionally and 3-dimensionally. My printed works are risograph printed to enhance the retro feeling and soften the geometrical design.

What inspires you and what principles do you apply to each project?

I don’t think I can call it inspiration. My hands itch if I don’t sketch or work on a design for more than about 2 days. The process of designing is what drives me, and the outcome allows me to slowly absorb and appreciate.

Which project are you most proud of and why?

Right now, it has to be the ‘Lotus Boy’ which became the main key visual of the ‘World Film Festival of Bangkok 2024.’ I have always imagined seeing my work on a large scale. And also, to see the tribal design in the present-day context; I think I have achieved another milestone.

Which part of the process do you enjoy the most during work?

All of them! The discoveries during the research, the courage it took for the first line to mark the paper, the moment to slow down and refine each line and surface, the transformation of 2D into 3D sculpture as if it came to life…the whole process is satisfying.

If you could invite any ‘creative’ for a coffee, who would it be and why?

 James Jean and Cleon Peterson. I love their works!

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