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SERPENTINE PAVILION 2026

A CENTURIES-OLD TECHNIQUE FOR DODGING BRITAIN’S BRICK TAX BECOMES THE STRUCTURAL AND CONCEPTUAL BACKBONE OF LANZA ATELIER’S CURVING BRICK SERPENTINE PAVILION 2026—AN OBSERVATION ON HOW NECESSITY, MYTHOLOGY, AND MATERIAL MEMORY CAN STILL SHAPE THE WAY WE BUILD Read More

PHOTO ESSAY : INCONVENIENT SUNSET


TEXT & PHOTO: BHUMIBHAT PROMBOOT

(For Thai, press here

Built structures and public spaces are often deployed as instruments for shaping new forms of society and culture, while at the same time bearing traces of the power that seeks to erase older social and cultural formations. This takes place through processes such as superimposition, replacement, and amalgamation, processes that are not merely physical transformations occurring in the ordinary course of things, but also structural mechanisms that steadily compress and constrain the lives of people and communities, pressuring them to gradually accept and grow accustomed to the abnormal as if it were ordinary. 

Under the weight of labor systems and industry, those living both within and beyond the formal workforce alike seek out public spaces for rest, spaces that feel safe and open, free from the images of labor they confront each day. Such places offer a way to ease exhaustion and stress under the mythology of desire, through small pleasures that allow life to continue moving forward. 

The beaches surrounding the Map Ta Phut industrial estate present a layered image of hope and aspiration in the development of public space around an industrial zone, under the promise of employment and stable income. Parts of the sea and shoreline have been reclaimed for public utility, serving energy production and the infrastructural foundations of national stability. Buildings and power plants have come to overlay the landscape of an earlier public realm once used for leisure, while also replacing former coastal fishing grounds, compelling local communities to gradually accept and adapt to changes they cannot refuse. In time, these unfamiliar conditions have been normalized into a ‘new normal,’ one in which the boundaries between people, sea, and industry within this coastal public space can no longer be clearly separated. 

Today, along the beachfront of the Map Ta Phut industrial area, people from Rayong and elsewhere still come and go as usual, gathering to talk, pause, eat, fish, and spend time by the shore. These ordinary acts unfold alongside the boundary line of the power plant, which stands in between, dividing the horizon from the sea. Through the movement of time, as the sun prepares to slip below the horizon, the ‘past’ and its earlier memories begin to fade; the ‘present’ remains governed by gross domestic product (GDP) as the measure of prosperity; and the ‘future’ remains an unresolved question of sustainability, one that continues to shape the fate of the ‘coastal public space’ under the existence of the ‘Eastern Seaboard Industrial Estate.’

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Bhumibhat Promboot, under the Human Made in Rayong project, in collaboration with EPIGRAM, Thai News Pix, the Thai Society of Environmental Journalists, and Dot to Dot.

instagram.com/bhumibhatpromboot

BORDERLESS


TEXT & PHOTO: MIHOKO SHIDA

(For Thai, press here)  

These works were featured in my solo exhibition, ‘Borderless,’ held in Tokyo in March 2026. The title carries multiple meanings, and I create these works with a prayer and a wish for a world where all boundaries—national borders, racial divides, personal limitations, and the divide between humanity and nature—have been erased, imagining how peaceful such a world would be. 

Additionally, while butterflies appear frequently in this exhibition, I view them as the embodiment of the soul and a bridge to the afterlife. This also symbolizes the borderless connection between the world of the deceased—including my late mother—and our own world. 

When I create my work, I feel as though emotions deep within me emerge, and the forms take shape naturally. 

At the request of the gallery, this solo exhibition was my first to focus primarily on human sculptures. I was a little nervous about how it would be received, but both the expressions on the faces of the figures I created and those of the visitors were very serene. Since this exhibition was also intended to eliminate the boundaries between myself and the viewers, I believe it turned out very well. 

My wish is for everyone to live peacefully and serenely in a ‘Borderless’ world.

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Mihoko Shida is a wire sculpture artist. After many years working in magazine photography, she began creating three-dimensional wire sculptures in 2019. She has since exhibited her work in solo and group exhibitions both in Japan and abroad. Most of her pieces are created without preliminary sketches; instead, she works spontaneously, as if ‘painting in space.’ Moving forward, Mihoko seeks to continue exploring the possibilities of wire while further expanding her range of expression.

mihokoshida.com
instagram.com/tamtam_wire