Udomsak Krisanamis' practice has long been characterised by his specific use of collage, creating obsessive patterns made from newspaper, noodles, cellophane and paint. Over the past two decades Krisanamis' work has maintained a distinct formal and conceptual clarity, offering a unique experimentation with the well-worn territories of the grid. While his paintings refuse to adhere to any particular context or obvious narrative, his imagery has undergone certain key transitions.
Read MoreEarlier paintings comprise of densely layered textured grids that resemble stellar landscapes, satellite imagery, twinkling cityscapes and blinking digital universes. Viewed in detail, these works shift between the worldly and otherworldly, the sublime and the everyday. More recently, this intricate detail has been replaced by bold, reductive statements of monochrome colours such as hazard orange and fluorescent yellow, the surface of which is built up from wedges of found material embedded between layers of acrylic paint and paper.
Born and currently working in Bangkok, Krisanamis studied at Chulaongkorn University, Bangkok and the Art Institute of Chicago. Selected recent solo exhibitions include Chiang Mai University Art Museum, Chiang Mai, Thailand, 2016; Gavin Brown's Enterprise, New York, 2007, 2012; Kunstverein Freiburg, Germany, 2011; VER Gallery, Bangkok, Thailand, 2006; Gallery Side 2, Tokyo, Japan, 2005; Giti Nourbakhsch Gallery, Berlin, 2004; Kunsthalle Basel, Basel, 2003; Wexner Centre for the Arts, Columbus, 2000 and Fruitmarket Gallery, Edinburgh, 1999. His work has also been included in several group exhibitions at venues such as the Bangkok Art And Culture Center, 2012, 2014; CCA Andratx, Mallorca, Spain, 2011; Kestnergesellschaft, Hanover, 2008; Kunstmuseum Wolfsburg, 2003; Walker Art Center, Minneapolis, 2001 and Whitechapel Art Gallery, 1999.
Text courtesy Victoria Miro.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
