The House No.1, 2010

PRISM, 100 Ton Son Gallery, Bangkok
Curator: Thanavi Chotpradit

Collaboration project with Pichet Klunchun and KKELVIN Design Studio

 

 

List of works

 

Blood Sweat and Tear, 2010, Acrylic painted on galvanized iron, Size variable


The Deadly Sin, 2010, Wine and ashes draw on paper, 46.5 x 39.5 cm.


Home, 2006, 5 Color photographs, Lamda print on paper

27 x 40.5 cm. and 34.5 x 51 cm.

Teak frame size 66 cm. x 86 cm


Made by shadows, Selected images from 2010

56 images with 7 drawings
Black-and-White offset print booklet, 80 pages

12 x 19 x 0.5 cm
+ wooden shelve, 30 x 225 x 2.5 cm.

 

 


Why is it called “The House No. 1”?
“The House” is a series of which its concept originated from desire of the people who live in an urban society to have a house. This piece, “The House No. 1,” is the first one of the three. In “The House No. 1,” I paid my attention to objects in the daily life, especially household objects. I placed these objects on shelves and set them in the gallery. At a certain point in time, these objects are parts of something that tell stories of my past, yet they are connected to the present day phenomenon that anyone can participate.


Where did you draw an inspiration for this piece?
An apartment I’m currently living in, in Bangkok, my father’s house in Chiang rai, my mother’s house in Saraburi, and my residence in Chiang mai.


What’s going on in this photo?
Actually it is an installation that consists of the books and the shelves. Photographs in the book are taken both from the time I collaborated with Pichet and from my personal-documentary diary. The other part of the installation is the photograph I’d shown four years ago. This piece was made in the house of my friend who, at that time, confronted the same situation as mine, losing a family member. I created that series in his house and exhibited them at The Art Center, Center of Academic Resources, Chulalongkorn University under the title “A Ghost Story.”


Your aim is to transform the gallery into a space in-between the world of Thai traditional literature and the world of reality, how do you achieve that through a series of installation art and photographs?
I actually intended to present the gallery in its own reality. I imagined the gallery when the performance is taking place and I made an installation out of that. The seats become part of an installation; they are parts of an artwork which viewers can see when there is no performance. The literature “Ganesh” and some other photographs are in the books too. By placing them on the shelves in the gallery, the viewer can take them out and read during the exhibition period.

 

What message will the viewers get from this disciplinary encounter of performing arts and visual arts?
In this collaborative project, Pichet and I intended to reflect and represent the present day situation, yet we let the viewers freely interpret both the performance and the installation in the way they wish. The core of the project lies precisely in the differences between the two artistic disciplines that co-exist in the same space as well as in the same socio-political situation that the artists, the viewer, the gallerist and the curator are all shared.

 

Press Interview, Translated by 100 Ton Son Gallery, 2010

 

 

Blood Sweat and Tear, 2010, Acrylic painted on galvanized iron, Size variable

The Deadly Sin, 2010, Wine and ashes draw on paper, 46.5 x 39.5 cm.

Home, 2006, 5 Color photographs, Lamda print on paper, 27 x 40.5 cm. and 34.5 x 51 cm., Teak fame size 66 cm. x 86 cm

Made by shadows, Selected images from 2010, 56 images with 7 drawings

Black-and-White offset print booklet, 80 pages, 12 x 19 x 0.5 cm
+ wooden shelve, 30 x 225 x 2.5 cm.