SAC Gallery | Art Central HongKong 2019 | Booth C10 : S.A.C. Gallery Bangkok | 27-31 March 2019
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Art Central HongKong 2019 | Booth C10 : S.A.C. Gallery Bangkok | 27-31 March 2019

Art Central HongKong 2019 | Booth C10 : S.A.C. Gallery Bangkok | 27-31 March 2019

 

 

S.A.C. Gallery Bangkok, Chiang Mai

 

presents

 

“The Macro Movements of Material”

 

a group exhibition by

Kwanchai Lichaikul, Thanathorn Suppakijjumnong, Look Comb Israkran Yingyong and

Weerapong Sansomporn.

 

 

WEERAPONG SANSOMPORN Matter…life, 2019 Metal weaving (Stainless Copper) 89 x 109 cm

 

As the global economy develops at a quick-pace, fully-integrating the nations of the world in a flow of money and free trade, cultures and societies are fracturing and reassembling daily. The imbalance between the cheap labor markets and the modern consumer have challenged how people identify with their surroundings, responsibilities, and kinship. Thanathorn Suppakijjumnong complex printing methods highlight multinational materials, with nostalgic memories of typewriting family’s history. They show records of cultures mixing, with the protagonist typewriters made redundant by the economic pressure of computation that is seen as necessary in the global market. There exists the death and birth of new inventions with the age of a family encapsulated inside. Israkran Yingyong’s work reflects the movement of secondhand goods from culture to culture as they are given new values. Supply over demand creates new markets and thus new interpretations. Our identities begin to form around these new feelings about the materials we encounter. Weerapong’s works are through the wrinkles and twists of lines, the eye draws in along the earth tones that are folding and textured, familiar and intrinsic. A closer look reveals a confusing strength of steel, copper, and aluminum flowing into frozen abstractions of our world. Detachments from reality changes how we see our nature, our society, and our concepts with the movements and moments that provide the memories of life in fixed time. The textures resonate organically, as their color and volume draw in their social space. This is connected using unconventional materials that provide a considerable, stagnant strength to elemental moments that are whimsical, dramatic, and passing. Kwanchai’s line drawing came to a significant crossroads when the artist become interested in the traditional language of the temple murals. And in this interesting consistency, the bird’s-eye view perspective combined with the piecing together of urban images merged into a painting depicting a new world. Their integration was on the basic of a simple principle that each event is situated and occoured in similar space and time, of which such painting lingo is considered fairly universal especially when applied to murals which the painter must find a way to direct the audience who are “reading” the world replicated by the artist through their own personal experiences, with the semi-real, semi-dreamlike surrounding atmosphere serving as an outer shell and the enigmatic landscape compelling the audience to discover its hidden meaning.

 

 

 

WEERAPONG SANSOMPORN

 

Weerapong Sansomporn (1988), graduated of both Silpakorn University and King Mongkut’s Institute of Technology, has constructed a powerful series centered on the genuineness of perceptions. Multiple winner of the Panasonic contemporary painting competition and best student honors from his fine arts program, Sansomporn’s experience and refined abilities are evident in the superb quality of this abstract works collection. Most recognizable for his elaborate metal works which resemble delicate formations often seen in fabrics and earthly forces, this new series adds a touch of wonder seen in subtle new uses of steel that provide a new focus on determined truths.

 

WEERAPONG SANSOMPORN, ‘Implicit Nature’, 2019, Metal weaving (Stainless Copper), 89 x 70 cm 35 1/8 x 27 1/2 inch

 

Weerapong’s works are through the wrinkles and twists of lines, the eye draws in along the earth tones that are folding and textured, familiar and intrinsic. A closer look reveals a confusing strength of steel, copper, and aluminum flowing into frozen abstractions of our world. Detachments from reality changes how we see our nature, our society, and our concepts with the movements and moments that provide the memories of life in fixed time. The textures resonate organically, as their color and volume draw in their social space. This is connected using unconventional materials that provide a considerable, stagnant strength to elemental moments that are whimsical, dramatic, and passing.

 

 

 

THANATHORN SUPPAKIJJUMNONG

 

Thanathorn Suppakijjumnong (1992) was born in Khon Kaen province, Thailand. She graduated with a bachelor’s degree in Printmaking from Mahasarakham University and earned a Master of Fine Art in Printmaking from Faculty of Painting Sculpture and Graphic Arts, Silpakorn University. During her study in the master’s degree, Suppakijjumnong had developed a printmaking technique with typewriters, the tools that she was familiar because her family used to run a typing school.

Suppakijjumnong is a fast-rising multimedia print artist from Thailand. She utilizes a time-worn typewriter as her vehicle to produce painstakingly detailed works of art that combine figurative and semantic imagery on both 2nd and 3rd dimensions. Her portraits are elaborate and poetic; offering a voice on social behavioral changes, and an introspective look into society. In 2016, her work earned her First Prize at the 5th White Elephant Art Awards with the work entitled “Love and Relationship”.  In 2018, she had a solo exhibition ‘Typeface’  at S.A.C. Bangkok.

 

Thanathorn Suppakijjumnong, ‘SECRET OF LOVE NO.6’, 2018, typewriting on AWAGAMI WASHI Kozo(Thin)White Roll and fold paper ,80 × 80 cm.(31 1/2 × 31 1/2 in)

 

Awagami paper, an excellent quality of paper imported from Japan, is the material that the artist selected to create works of art as the fiber of paper is cohesive and durable as well as being able to retain the color of papers. Suppakijjumnong’s complex printing methods highlight multinational materials, with nostalgic memories of typewriting family’s history. They show records of cultures mixing, with the protagonist typewriters made redundant by the economic pressure of computation that is seen as necessary in the global market. There exists the death and birth of new inventions with the age of a family encapsulated inside.

 

 

ISRAKRAN YINGYONG

 

 

 

Israkran Yingyong (1977) graduated B.F.A.(Painting) from Faculty of Fine Arts, Chiang Mai University in 2001. He won a Silver Medal Award, the 17 Exhibition of Contemporary Art by Young Artist on The occasion of Silpa Bhirasi Day, Bangkok, Thailand, in 2000. Having shown in local and international stages, Yingyong has plenty of solo & group exhibitions.

 

 

ISRAKRAN YINGYONG, ‘CORE 2’ , 2018, collages hand sewing, cotton, polyester, metals High 200 cm Diameter 40 cm.

 

The significance must be HIVE Asian Residency Asian Report @Art Studio in South Korea in 2014; and New Space Art Foundation in Vietnam in 2016. He had a solo exhibition Combination 7: The Missing Size at S.A.C. Art Lab, Chiang Mai in 2017. Also, he has joined an ongoing collaborative project between Korea Foundation and Subhashok the Arts Centre: Out of Place – exhibition which have shown in Seoul and Bangkok in 2018 and 2019.

 

 

ISRAKRAN YINGYONG, ‘CORE 1’ , 2018, collages hand sewing, cotton, polyester, metals High 200 cm Diameter 40 cm.

 

Israkran Yingyong’s work reflects the movement of secondhand goods from culture to culture as they are given new values. Supply over demand creates new markets and thus new interpretations. Our identities begin to form around these new feelings about the materials we encounter.

 

 

 

KWANCHAI LICHAIKUL

 

KWANCHAI LICHAIKUL, ‘In silence of deserted ocean’, 2016, Acrylic on canvas, 120 x 250 cm 47 1/4 x 98 3/8 inch

 

Kwanchai Lichaikul (b.1983), graduated from Silpakorn University’s master degree program focused on ‘Thai art,’ which developed the structure and skills of local heritage, especially mural compositions. He has had many exhibition experiences, including 2 exhibitions at the Bangkok Art and Culture Center; first his work came to the forefront with his ‘Bangkok 226’ (2008) exhibition and 8 years later, with the Unseen Siam -Early Photography 1860-1910 (2016), In 2011, he was chosen to design a poster celebrating the 50th anniversary of Amnesty International. In 2012, he exhibited his Audio painting project at the Thailand Creative & Design Center (TCDC), Bangkok. He also joined the Thai Art Exhibition 36 Year Anniversary Thai Art Department at The Queen’s Gallery, Bangkok in 2016.

 

 

                                

KWANCHAI LICHAIKUL, ‘Sea’, 2017, Ink on paper, Diameter 77cm.

 

Kwanchai’s line drawing came to a significant crossroads when the artist become interested in the traditional language of the temple murals. And in this interesting consistency, the bird’s-eye view perspective combined with the piecing together of urban images merged into a painting depicting a new world. Their integration was on the basic of a simple principle that each event is situated and occurred in similar space and time, of which such painting lingo is considered fairly universal especially when applied to murals which the painter must find a way to direct the audience who are “reading” the world replicated by the artist through their own personal experiences, with the semi-real, semi-dreamlike surrounding atmosphere serving as an outer shell and the enigmatic landscape compelling the audience to discover its hidden meaning.

 

 

 


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