Pinaree sanpitak biography sample

Influences and inspirations [ edit ]. Selected works [ edit ]. Collections [ edit ]. Reception [ edit ]. Femininity and feminism [ edit ]. References [ edit ]. Artnet Worldwide Corporation, Web 13 Mar. The Sydney Morning Herald, 19 Oct. Art Asia Pacific Blog. August Los Angeles Magazine. Sept 1. Tyler Rollins Fine Art. Siuli, Tan. Ng, Rachel.

Sensorium Contemporary Art and the Sensed World. Thailand Features. Authority control databases. Categories : Thai women artists births Living people Silpathorn Award winners Artists from Bangkok Thai installation artists Women installation artists 20th-century women artists 21st-century women artists University of Tsukuba alumni Charles Darwin University alumni 20th-century Thai artists 21st-century Thai artists.

Sanpitak's own experience of motherhood has influenced her commitment to exploring the feminine and feminist aspects of her artistic practice. Interested in the psychological and spiritual changes that women undergo as they mature, her work attempts to give visual shape to these ideas. Perhaps to avoid being typecast, Sanpitak rejects the label 'feminist', maintaining, 'I've always explored myself in art and I happen to be a woman'.

Sanpitak's works subtly compel the viewer to examine their own preconceptions and participate in the artist's own experience, which she has described as follows: 'I wanted all my senses to blossom: to give rise to all possibilities, and consequently learn more about oneself. Poshyananda, Apinan. Search artworks. Advanced search.

Cemeti Art Foundation, Indonesia, , viewed 16 September Sanpitak, Pinaree in 'On the breast behaviour', Caravan, undated, p. By my senior year, under the guidance of Professor Kiyoji Otsuji , I was doing mixed-media work with photographs and hand-made paper, among the graphic design works of my classmates in the Visual Arts and Design department.

I saved up some money and went backpacking in the Philippines, Burma, Bangladesh, Nepal, India for a year before settling back in Bangkok. I knew then that I just wanted to work as an artist, gradually one thing led to another. Looking back, I think the training in design seeps out a lot in my practice, through forms and symbols. I started my monograph from the year because I wanted to show how my works now relate and evolve from the works back then.

How did you arrive at this signature motif, and what is it about this form that continues to fascinate you? You have explored iterations of this motif in ceramics, painting, sculpture, and even performative works and in your cookery series as well. The breast forms somehow became more sacred, more grounded, both from the making process and the setup.

I paint them. I draw them. I sculpt them. I wanted to delve further with different materials and approaches. The two projects deal with food and nature, two main necessities of human beings. Not one iteration is the same, which excites me. And that is why I keep on at it. Another recurrent form in your work is that of the Ma-lai, which makes reference to the ubiquitous floral garlands in Thailand that serve as offerings as well as markers of significant occasions or passages in life.

Pinaree sanpitak biography sample

When did you first start to explore this motif in your work, and what fascinates you about this motif, and the process of making the toile sculptures? My studio in central Bangkok is connected to my kitchen and garden and these elements naturally come to be part of my works. I tried the idea with different textiles and tried to fold them into different shapes, similar to when we work with banana leaves or flower petals.

Ones that designers use when creating their ideas. With toile, the folds and structures hold their shapes and are visibly clear without any patterns on the textile. I intentionally left some edges with the fringes. How similar, or different, was your approach to these presentations? Does the Ma-lai tell a different story at each site?

Silom Art Space became a connection for me with the Thai art community too. In fact, I knew people from the literature circle and music scene before I knew visual artists. They were inviting different people to tour Japan for six months as part of a programme by then Prime Minister Yasuhiro Nakasone. My colleague, this Japanese gentleman, knew the Thai music band Caravan and linked us up.

I returned to Bangkok around In a way, I am lucky because I studied in Japan, so I am not associated with any of the local art academies like Silapakorn University. I was an outsider so I could do whatever I wanted. At that time, most of the galleries are affiliated with the schools, which is still the case today. Other venues would be the National Gallery along Chao Fa Road which wasn't in good condition, the British Council and Goethe Institut… That was about it, so we thought why not do something since we have a space.

Chatchai and I became much busier in and it was not fun anymore so we closed the gallery. Pinaree Sanpitak, 'Noon-Nom', , organza, synthetic fibre, dimensions variable. Image courtesy of Kiyoyuki Sawai and the artist. Both of your practices intersect in a number of areas, from the use of textiles to a focus on the human body. Has he influenced your work in any way?

Actually, part of my job is being his assistant laughs. Our studios are in the same building so I think we influence each other naturally. The new version is in bold pinks and blacks, whereas the one at SAM done in was in pastel tones. I feel like I've moved on during the 14 years between the two iterations. The woman has changed and Shone helped me make an updated breast form to reflect that.

We have these constant exchanges. You've been looking at the breast motif for thirty years. Has its significance changed for you? In a way, you can see it as a self portrait. It's ongoing, and will probably remain an interest until I die. I started exploring the motif in and at one point, people were saying "she's doing the breast again? It seems like I am talking about the breast, but actually, it's about the body.

How we relate to each other. How we share space. How we can make things better. Pinaree Sanpitak, 'Red Alert! My Body My Space I', , acrylic, pencil, textile, paper on canvas, x cm. Photo by Aroon Permpoonsopol. You will also be opening a solo exhibition of new paintings at Yavuz Gallery. I'd like to ask you about the titles you've given the works, in particular, 'Red Alert!

My Body My Space' which has a strong declarative tone. That painting is a continuation of the 'Red Alert' series which I started in You can also see a few works in the series done using collagraph technique at STPI. I moved to a new studio two years ago, which is larger with better light, and I wanted to return to painting. These new works still feature the breast forms or breast vessels, but they're painted in bright shades of red.

With what's going on around the world today, women's issues are still relevant. This is is disheartening but we have to keep working on it.