Thai Painter Knakorn Kachacheewa’s Surreal Poolside Scenes
Knakorn Kachacheewa (a.k.a. Kanakorn Kashashiva) will present a suite of recent paintings in the upcoming solo exhibition. These works are more grounded in naturalism than Kachacheewa’s earlier compositions, which feature abstracted and iconographic images of solitary flora or people, but retains his fable-like depictions of people in magical landscapes. Here, more signs of the contemporary have found their way into his parables: sunglasses, swimming pools, pistols.
Much of his work resembles portraiture, focusing on one woman in a theatrical, jungle-like scene. In Woman on Horseback (2014), a young lady sits backwards on a small pony. The two are surrounded by a scrim printed with vertiginous plants, beyond which can be seen the sea and a cloudy sky. Except for a pink shoe, the woman’s body is clothed only in images, which overlap and intrude on one another in a dream-like way. Kachacheewa uses a similar image in Pool Party (2014), in which two girls sit back-to-back, making similar gestures. One is naturalistically rendered; the other is a silhouette composed of similarly interwoven scenes, like the girl on the horse. They are also, again, backed by a theatrical inset of a plant.
Some images reappear in many of Kachacheewa’s works, as the artist invents his own surrealist lexicon. Antlers surface not only in Pool Party, but also in Victoria Waterlily and Old Passion (both 2014). His stylized depiction of these icons heightens their archetypal impact, similar to the mythos-rich paintings of
Other scenes appear far more casual. In Pool (2012), a man and a woman rest at the edge of a pool, backs to the viewer. It resembles the casual domestic vignettes of
Kachacheewa reinvents older forms, bringing them into the present. He achieves the
“Knakorn Kachacheewa” is on view at Ode to Art, Singapore, Mar. 5–15, 2015.
The Van Cleef & Arpels Frivole Collection
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