Rattana Salee’s metal sculptures of architectural structures reflect the private and communal complexities of urban living. Evidence of supposed progress, the Thai capital has become one vast construction site. The builder’s raucous rattle of drill and hammer shakes almost every street in the city, while inhabitants seek mental and spiritual solace in the claustrophobic rectangular stacks they call home. Within such domestic confines, occupants establish individual expressions as refuge, yet the world beyond continues to infiltrate. Attempting a personal connection with the geographic, social, and psychological framework of the cityscape, Rattana’s sculpted frames evoke the decaying towers that still pierce the capital’s skyline, residues of economic fallout from the 1997 financial crisis. The devotion to the medium of sculpture, constant engaging in a dialogue with a vast city space and a focus to the socio-political commentary of a particular cultural surroundings render Rattana Salee’s work to be a paradigmatic representation of an urban art oriented practice.
Wattanapon pays homage to the symbiosis of all living existence. The equilibrium of nature allows humans, animals, and plants to co-exist and be able to sustain their own livelihood. However, the balance is off when humankind takes advantage of nature without much consideration for the consequences.
Originated in the ancient era in East Asia to create books and images, the woodcut printing is the method that creates ‘relief’ pattern. The area that is carved out appears on the finished print as ‘white’ while the original surface level appears as ‘black’. The relief process is done by hand; either with knife, chisel, or sandpaper.
Unique from his contemporaries, Praween Piangchoompu creates artwork using sandpaper to evenly and slightly remove surface of the wood. In his work, there is no stark contrast of black and white lines. Printing in subtle color, he systematically applies different tonal values and shades of the same color onto the different level of the surface to create images that bear smoothness and softness.
The serene nature of Piangchoompu artwork symbolizes a feeling of peacefulness in one’s mind. His simple composition is accentuated by the gradual shade of lights. The presence of light in his work has a reference in the purity of mind. Piangchoompu’s work process serves as a mean for him to manage the stress in daily’s life while questing for the equilibrium of the mind.
Praween’s artwork highlights the polarity between complex process and simple visual aesthetics. Achieved by painstakingly scraping, scrubbing and carving the surface of a woodblock, his artwork requires multiple printing processes to create multi shading of the same color. Precision, accuracy and patience are essential in this complicated art making process.
“Shape of Relationship,” a new series of artwork by Sita Inyai explores the natural law of balance. The relationships between human to human, human to surroundings or animals to nature are all based on the principle of equilibrium. Some relationships are congenial while some differ strikingly. The exhibition offers a metaphoric picture of the omnipresent rule of balance in both explicit and ambiguous visual interpretation.
“Shape of Relationship” consists of 13 artworks in two and three dimensions. Inyai creates her body of work through the process of drawing, crocheting, knitting, tying, binding, and weaving metal and silk yarns. Her application of mixed materials makes reference to the physical structure of the human body.