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Specializing in Thai & Asian Contemporary Art

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FAULT LINES

Fault Lines is an installation that explores Noraset Vaisayakul’s continuing interests in intersections of human behaviour, perception and control. Employing video, interactivity and deceptively painted surfaces, Fault Lines functions as a laboratory to test the limits of an audience’s capacity to determine relationships to an environment and claim a stable understanding of experience.

Fault Lines invokes peculiarity and dislocation. Including iconography related to the human body and metaphors of aberration and anomaly, the installation shifts between abstraction and seeming clarity while offering enticements to revelation. But as Vaisayakul’s low-lit installation plays with our perception, essential knowledge always remains beyond our grasp. Indeed, peculiarity and dislocation can be felt.

While the artist’s explorations are based in personal preoccupations with philosophies of what it means to pursue the truth of things, Fault Lines also suggests the political significance of what it means to manipulate personal agency and comprehension. The tacit theme of Fault Lines is in the distortions and conflicts of universal experiences – truth, honesty – and how such occurs through the force of relations between external and internal social pressures.

Noraset Vaisayakul is a leading artist from Thailand and based in Bangkok. He has received many awards including grants from Thailand’s Ministry of Culture and the Dutch Ministry of Foreign Affairs. Vaisayakul held a residency at the Rijksakademie in Holland in 2003 and has taught at many institutions including Silpakorn University, Bangkok, Naresuan University, Phitsanulok and the Cittadellarte Fondazione Pistoletto in Italy. Solo exhibitions include Subconsciouspace (2009) at Gallery VER, Bangkok, and Slow Down (2011) at the Art Center of Chulalongkorn University in Bangkok. He has participated in group exhibitions in Belgium, Seoul and Sydney.

 

Noraset Vaisayakul
September 11 – November 9, 2014
Curated by Brian Curtin