S.A.C. Gallery Bangkok, Chiang Mai presents “The Macro Movements of Material”, a group exhibition by Kwanchai Lichaikul, Thanathorn Suppakijjumnong, Israkran Yingyong, and Weerapong Sansomporn.
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.