Works: 2024
Series of 12 analog photographs (as leporello), sound (27:30 min.)
We Build What You Dream is a slogan frequently encountered in Bangkok in the context of massive construction projects. Printed on large-scale banners, often attached to imposing bamboo scaffolding, it can also be interpreted as a reflection of a country caught in the perpetual tension between tradition and modernity.
This ambivalence is embodied in the present work, which consists of a leporello with twelve analog photographs and a sound piece composed of six tracks. The compositions are based on field recordings, primarily captured in Northern Thailand and on the island of Ko Phayam. These are complemented by manipulated tape loops derived from old Thai MCs from the 1980s. In contrast, dystopian-like sounds generated through electromagnetic radiation in the bustling metropolis of Bangkok serve as a counterpoint within the piece.
Dialogue, 2024
HD film, colour (6:15 min.)
In the digital age, the way in which individuals engage with art has changed significantly. Traditionally, museums and exhibitions were spaces for quiet contemplation and reflection. However, they are now increasingly influenced by smartphone usage, as visitors often photograph artworks or film their surroundings rather than engaging directly with the exhibits. This shift towards media documentation can alter the art experience in various ways.
Psychological studies suggest that the act of photographing or filming can impair memory retention. Henkel (2014) refers to this as the Photo-Taking Impairment Effect—the tendency to remember fewer details of an event when it is captured through a camera. This phenomenon is also observable in the context of museum visits, where viewers who experience art primarily through the lens of their smartphones may become less deeply engaged with the artwork’s content, structure, and artistic intent. In this context, the act of quickly capturing an image for later use often takes precedence over conscious, present-moment perception.
The video work Dialogue addresses these issues by deliberately adopting a smartphone format (9:16), which has become the standard for contemporary social media. The film presents museum visitors at the Mona Lisa in the Louvre, who, rather than engaging directly with the painting, observe it predominantly through their smartphone screens. The use of slow-motion amplifies the absurdity of the situation, as visitors’ movements become exaggerated, while the iconic artwork itself recedes into the background. The accompanying sound work further emphasizes the sense of alienation between the viewer and the artwork, enhancing the disconnection that results from this mediated interaction.
References
Henkel, L. A. (2014). Point-and-Shoot Memories: The Influence of Taking Photos on Memory for a Museum Tour. Psychological Science, 25(2), 396–402.