In London, yes,
Yes, I have been showing for quite a while. I have four other galleries, but this is the first one in this region.
Well, the first one was Japanese SCAI The Bathhouse in Tokyo. Then I have a Beijing space, XXX and Mexico City, Karimanzutto.
I love them. And I’ve just started with Future Perfect in Singapore.
I think so for many people. It’s a different world.
Yes, I did study film. I went to the Art Institute of Chicago, where they really focused on experimental film, that’s film as art, but at that time, 20 years ago, it was still not art so much as film, Stan Brakhage, Andy Warhol, that sort of thing. But once I graduated all that was beginning to merge. Video began to be shown in galleries, but I still really focused on experimental film, then my friends started to put my work in the gallery in Thailand. I objected in the beginning, ‘this is not art”, because I thought of it differently.
Yes, you’re a zombie basically.
Before I saw them differently, because I was really into that world, that of experimental cinema. Really sticking to the rules of theatre in cinema. I was also into narrative, but a different way of narrative, a deconstructed approach to cinema. I was fascinated by Wu Show Sian, Chai Ming Lee or Yee Ren Nian’s cinema. Somehow they are seemingly realistic, but at the same time they break certain rules of cinema, so I started to develop feature films like them. But there are also certain parts of me that are still sticking with that Stan Brakhage school. [laughs]
So I was almost doing these two things, and it suited me perfectly, because in cinema, it takes 2-4 years for one thing. It’s like a big battle. Sometimes these shorter forms offer more freedom. It really creates a break or some kind of air that helps inspire the feature film.
Actually it started in the Sharjah Biennial. It was developed for the space over there. I spent a lot of time going there, developing it and working with the workers, for the museum. In the end, I got this 10 minute piece on this glass that is supposed to reflect on the library where it is installed. In the old library, there are these beautiful old pillars, on the glass there are these reflections of the workers, and of the architecture. So it is quite a different effect there, and of course I cannot bring the library here, but that’s the idea. It’s an idea of visible and invisible.
Yes, illusion or the seemingly real but not.
I don’t think so. It is reaction to the time I was there.
Yes. But at the same time, it’s the first piece I made outside of Thailand. So its very special for me!
hmmm… I didn’t think about that. But the idea of time, well.. its still slow for me. It’s like that guy is trapped in this mixture of nature and barren landscape of the contemporary architecture. The oblique of the contemporary architecture.. I’m not sure yet. [laughs].
Yes, sometimes it is deliberate to evoke that sense. For me time in movies is exaggerated, especially to make you aware of yourself. I’m really influenced by Buddhism, so I really like it when you encounter certain works that are not really about the piece and its about you, then you start to realise the rhythm there is not in sync with what you normally encounter. Then you see your rhythm, and you realise that you’re a zombie in the theatre. In comparison to popular cinema, it is the opposite, they make you go into their rhythm and then you forget your body.
Some audience. [laughs] Some of them.
Yes, or some soap opera.. [laughs].
Happy paintings.. at least its more abstract. What is a happy painting?
I’m not sure. For myself.. well maybe you’re right. For me cinema is really out now, I don’t really watch cinema or TV lately. Only when I go to festivals. I read more books. Because when I’m making a movie, I don’t think I’m making movies, then suddenly I realise there is going to be a movie. Then you have to go to a projection booth and a cutting room, but when I’m making it I don’t think that I’m part of this industry.
I don’t know. Maybe the same as before when I was thinking of making a specific theatre or making films for certain groups or something, but I never think of it even as a career really. Because feature films never bring me money. Uncle Boonmee actually made money, I was “wow”! I never knew that was normally for a movie. There are two loves, visual arts and cinema. So far visual arts is the one that brings me some money, that lets me live. Many of my friends who have studied film have to do other things as well, some write, some teach. We each have our own thing.. but movies never makes money.
So I happen to do this.
Yes, I was really crazy about movies. I liked Steven Spielberg. I liked to make popular movies. Before I went to art school, I saw things on VHS, European movies, especially Fellini, and thought, wow, this is something new. I just wanted to make movies. I can say that I accidently went to the Art Institute of Chicago because it had the latest deadline. [laughs] I thought, OK learning how to make movies is the same everywhere, but in fact it was another kind of encounter. Because I then discovered experimental cinema and it changed again.
It changed from Fellini to different..
I don’t think so. Somehow I cannot really differentiate Fellini or Warhol or Maya Derren.
Not sure. I’m still follow them. Esepcially since I view Hollywood as the future. Because everything is invented there, all the time. Technological, etc.
Oh no. I don’t look for that there, because when I go for, especially spectacular films, you know the special effects, they are much better than Matthew Barney or some things like that. Wow I go, that’s a pinnacle.
Well, I would be really rich.. laughs.
A video from '98 and '99,
Yes it’s a blank TV screen with a High 8 camera. I was out of school in '97 and I was always worked with film, film, film, I never touched video. Back then it was the film department and video was separate, in fact they only merged about 10 years ago, so I didn’t know anything about video. It’s a different history, a totally different expereience. It was a new toy, I saw the reflection on TV and I discovered that when I moved a bit the relationship of the feedback would start to flicker. So actually the whole video is about the movement of the camera.
Yes. So its really fascinating for me, because somehow I never thought that video could produce this effect like film.
Ah.. yes, this kind of thing I think of as almost a performance. It’s live, and it’s effects depend on my movements. It was really enjoyable experience I didn’t want to stop. This kind of thing, I think its really, this first video, stuck with me up until now, in the way I use video as a medium. The last piece was the Primitive project, where I also worked with teenagers in the village where I live. I always use video like that, it’s something like a performance. Something very immediate, not like film. Film for me is something I reserve for features. I view it like an arrangement of memories. Something that already happened.
Yes, its immediate. Like this small pieces, the boyfriend, is really there! The funny thing is that this.. the flickering piece is my home town bedroom and the window. And my boyfriend is in another bedroom.. when I grew up and had a relationship. It’s this kind of thing, a bit like a diary.
Wow! Yes. So this show is really a personal in a way. But if I don’t tell you nobody knows. These kind of little details.
Yes, for me. Well sorry it’s not.
Oh.. It’s different. Because making a feature film, there’s certain restraints. It’s like talking your mind but you’re aware that there’s people in the room. Then there’s planning and there’s budgeting. But for this so called “art’ I don’t really think about it. I make many pieces and sometimes it’s in the rubbish or on a shelf. So when I’m making it, it’s always a personal dialogue. There’re no people in the room.
Oh really, it’s hard I never analyse myself.
No, no I’m really happy today, it’s a special day.
Thanks! Its really special, because I don’t have a gallery in Thailand.
Its hard to find a space that wants to show video. Its always really to sell from the point of view of the gallerist.
So that why I’m really happy to have this show here!