Tag: Rayong

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

PHOTO ESSAY : SOMETHING IN EVERYTHING


TEXT & PHOTO: SUKRIT PATJUNTADUSIT

(For Thai, press here

“The whisper of the factories is louder than the cries of the villagers.” 

The sentence comes from a community representative in Rayong, a province where residents have long lived with the consequences of industrial pollution. Factory smoke carrying foul odours and unexplained chemical leaks into the sea becoming recurring incidents, returning seemingly every year. Marine life has begun to disappear. Fishermen are losing their livelihoods. Concerns about public health have intensified alongside rising cancer rates. 

SOMETHING IN EVERYTHING is an experimental photo essay developed through fieldwork in Rayong. Working with photographic film, Sukrit Patjuntadusit employs the process known as ‘film soup.’ 

For this series, the film was exposed not only to light, but to the residues of industrial harm: wastewater flowing from factory drainage pipes into the sea; water from a treatment pond that had leaked into community waterways; chemically contaminated soil from a rubber plantation beside a factory that had previously caught fire; ash from chemical drums; and crude oil collected by villagers after the 2022 oil pipeline leak washed ashore at Mae Ramphueng Beach. 

Once the film was developed and the images began to emerge, the photographs revealed the material trace of these effects. Colours became distorted. Chemical residues left visible stains. Acidic compounds corroded the film, damaging and deforming its surface. Through this experimental process, the work makes perceptible the possibility that what corrodes the film may also have the capability to affect the human body.

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Pao Sukrit Patjuntadusit, also known as SiiXTY-4 (64), is a photographer and photographic artist. He currently works as a freelance photographer across commercial and event-based projects. As an artist, Pao is drawn to environmental questions, traces of human activity, and the fragile boundaries of what it means to be human. He lives in Bangkok, a city dense with civilization, noise, and disorder.

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