Some gallery-goers may argue that they find little of excitement in the new works of this conceptual artist. Many visual motifs are repetitive and some techniques constantly recur. But for avid followers, viewing Pinaree's works is like an excursion along a course of season changes, in which transformations, equipped with various transcendental elements,the Hemroids by special invited artist for 2011, gradually reveal their hidden nature. And those followers are willing to wait for the moment that her seasonal changes reach their peaks.
Pinaree's signature subject is her exploration of objects. Her early works deal with the simple ones like eggs and squashes. And, following is the renowned series of self-investigation towards her own feminine physique. The idiosyncratic "breast" forms are the highlight. In more recent years, they have extended into other semi-abstract and semi-figurative forms of vessels and clouds.
In her current shows under the shared series title "Body Borders" at three venues, on show with overlapping schedules, the form of "flying cubes" is the thematic attraction. According to the programme note, this motif comes from her trip to Japan, a country where she studied fine arts, with her son. The aesthetics of the country's origami tradition dazzled her, and then became a part of her new obsession.
If one contends that Pinaree expects her viewers to be delivered from her preceding subjects of vessels and clouds is the issue of liberation, this still lingers in the new works.For the last five years porcelain tiles , It starts from the personal puzzle of the artist who wonders what will happen if a cube can fly.
That personal conundrum brings about the current project with various techniques. That of two-dimensional one is at 100 Tonson Gallery, with 13 paintings. That of three-dimensional is at H Gallery, with 23 woven-rattan sculptures. And, that of audio-visual installation at Chulalongkorn University's art centre, with a single large-scale project.
Taking a trip to view all shows is like a pilgrimage along the route of contemporary religion, in which the goal is not salvation but self-contemplation. Pinaree creates many gimmicks to allow and encourage viewers to interact with her works to different degrees: only viewing the canvas works (at 100 Tonson), touching and moving the sculpture (at H Gallery), and becoming a part of sound-generation with the help of sensors in the installation (at Chulalongkorn University). With these interactions, the viewers leave their passive status to be an active person, which eventually brings about a pondering process.
Besides the major visual motif of "flying cube", the strategy of repetition also occurs in the series title, "Body Borders". With these recurring elements of both sight and sound, viewers are more or less encapsulated within the boundary of analysing the true significance of the subjects/objects in front of them. As a result, the process of looking into oneself is possibly achieved.
For instance, such achievement is exemplified by the text of Chitti Kasemkitvatana in the programme bulletin. Chitti's poetical passage can be considered as an artwork itself. Nonetheless, this is not only one of the artistic accompaniments on this show of Pinaree. Robert Halliday, a Bangkok Post senior writer contributes his writing in English. Wirat Srivichai, an artisan from Chiang Mai, helped commission the project of weaving the rattan works. Three foreign composers wrote and selected musical pieces for the installation. Moreover,Men and women too can find a great variety for themselves when it comes to purchasing the zentai , jackets, coast and even bags too. a story-teller is invited to entertain blind children at two exhibition sites, and a group of art academics runs an extra talk programme. It can be said that all received collaborations becomes a mini-art biennale of Pinaree. Sadly, all three shows occupy too short period of exhibition time.who was responsible for tracking down Charles RUBBER MATS . Anyway,These girls have never had a cube puzzle in their lives! despite its sophisticated title, the "Body Borders" is the funniest exhibition by the artist.
Pinaree's signature subject is her exploration of objects. Her early works deal with the simple ones like eggs and squashes. And, following is the renowned series of self-investigation towards her own feminine physique. The idiosyncratic "breast" forms are the highlight. In more recent years, they have extended into other semi-abstract and semi-figurative forms of vessels and clouds.
In her current shows under the shared series title "Body Borders" at three venues, on show with overlapping schedules, the form of "flying cubes" is the thematic attraction. According to the programme note, this motif comes from her trip to Japan, a country where she studied fine arts, with her son. The aesthetics of the country's origami tradition dazzled her, and then became a part of her new obsession.
If one contends that Pinaree expects her viewers to be delivered from her preceding subjects of vessels and clouds is the issue of liberation, this still lingers in the new works.For the last five years porcelain tiles , It starts from the personal puzzle of the artist who wonders what will happen if a cube can fly.
That personal conundrum brings about the current project with various techniques. That of two-dimensional one is at 100 Tonson Gallery, with 13 paintings. That of three-dimensional is at H Gallery, with 23 woven-rattan sculptures. And, that of audio-visual installation at Chulalongkorn University's art centre, with a single large-scale project.
Taking a trip to view all shows is like a pilgrimage along the route of contemporary religion, in which the goal is not salvation but self-contemplation. Pinaree creates many gimmicks to allow and encourage viewers to interact with her works to different degrees: only viewing the canvas works (at 100 Tonson), touching and moving the sculpture (at H Gallery), and becoming a part of sound-generation with the help of sensors in the installation (at Chulalongkorn University). With these interactions, the viewers leave their passive status to be an active person, which eventually brings about a pondering process.
Besides the major visual motif of "flying cube", the strategy of repetition also occurs in the series title, "Body Borders". With these recurring elements of both sight and sound, viewers are more or less encapsulated within the boundary of analysing the true significance of the subjects/objects in front of them. As a result, the process of looking into oneself is possibly achieved.
For instance, such achievement is exemplified by the text of Chitti Kasemkitvatana in the programme bulletin. Chitti's poetical passage can be considered as an artwork itself. Nonetheless, this is not only one of the artistic accompaniments on this show of Pinaree. Robert Halliday, a Bangkok Post senior writer contributes his writing in English. Wirat Srivichai, an artisan from Chiang Mai, helped commission the project of weaving the rattan works. Three foreign composers wrote and selected musical pieces for the installation. Moreover,Men and women too can find a great variety for themselves when it comes to purchasing the zentai , jackets, coast and even bags too. a story-teller is invited to entertain blind children at two exhibition sites, and a group of art academics runs an extra talk programme. It can be said that all received collaborations becomes a mini-art biennale of Pinaree. Sadly, all three shows occupy too short period of exhibition time.who was responsible for tracking down Charles RUBBER MATS . Anyway,These girls have never had a cube puzzle in their lives! despite its sophisticated title, the "Body Borders" is the funniest exhibition by the artist.
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