PARINYA SIRISINSUK (BENZILLA)

“Good luck” is a heartfelt phrase that the artist often uses when bidding farewell to friends, carrying a hope for their future well-being. People may depart, but memories remain constantly, allowing us to revisit them with gratitude at any time. It is through his characters that these stories are told. What we remember are the emotions rather than specific scenes, and these works vividly embody those feelings. This sense of good luck arises from an understanding and acceptance of life.

In Benzilla’s artistic practice, the 3 eyes character of “LOOOK” was originally conceived as a symbol of “observation” and “contemplation”. “LOOOK” seems like a transcendent outsider, with three overlapping “O” signifying a profound insight that goes beyond conventional perspectives. In Chinese, the character “瞐” (mò), which features three eyes, has a long history, originating from the first Chinese dictionary Jade Chapters (Yupian). It describes a gaze that is deep and penetrating. Like “LOOOK”, “瞐” does not simply refer to observing external objects but also suggests a deeper focus on inner reflection with surroundings.

In ancient Greek, the word “theoria” means both “theory” and “contemplation” that implies understanding. For those who rely on external sources of happiness, an inwardly contemplative life seems to be the ideal way. The etymology of “happiness” carries a sense of good luck, yet many people equate happiness with sensory pleasure, often pursuing a life dependent on sensory enjoyment and social recognition. Aristotle considered the mode of “θεωρία” (theoria) as the ideal, viewing non-utilitarian contemplation as the highest behaviour, accompanied by sustained pleasure and self-sufficiency, reflecting self-awareness and fulfilment. Benzilla’s paintings represent his experience of observation, his “θεωρία” (theoria) in this state of happiness, there is leisure and self-sufficiency, which together lead to fulfilment.

Although Benzilla is colourblind, he conveys the unparalleled tension of colours through exploring the weight of colour and overlapping techniques. If we look at his early works, he used brighter colours and flat brushstrokes, presenting vibrant, energetic street art-inspired visuals. More recently, he favours softer hues, seeking a balance between freedom and the reality of everyday life. In this slower-paced process, he shifts his gentle and warm focus from himself to the world around him. The detached eye of “LOOOK,” observes both the outer world and the inner self. It points to the subtle relationship between external relations and inner states—a sense of inner peace and strength gained through profound observation and self-reflection. “LOOOK” is more concerned with the interpretation of human perceptions within the rules of the world. Cartoons offer a safe and shelter space for the artist, the character emphasising an observation without criticism or judgment, figures inspired by the various personalities and traits around him—whether close by, long gone, or memories of people, events, and feelings he has encountered. These are interpreted and translated through cartoon or comic images in different ways, saying “good luck”.

This exhibition reflects the artist’s introspection as it spreads from internal contemplation to the external surroundings: “Sometimes I wish people could stay together, just do nothing, and slow down to feel the things happening around them...” The image of “LOOOK” invites us to reconsider the restless and unfixed constellation of boundaries— how we might recast the axis of past and present that we used to do so, in our own time.