Curated by Wantanee Siripattananuntakul
Artists : Jaitip Jaidee and Rattawalee Chanchawvalit
7 November – 30 November 2013
338 OIDA Gallery announces its upcoming show, “Things”,featuring two young Thai artists, Jaitip Jaidee and Rattawalee Chanchawvalit, to be held at the Gallery’s Rama IV location 7 November through 30 November.
Everybody has “things” – although probably not everything. Their values vary in status and association levels, and may develop into monetary significance. Two emerging Thai artists, Jaitip Jaidee and Ratawalee Charnchavalit, are expressing the conceptual content of “things” in this joint exhibition that not only discusses their existence, but also the formation of their meanings. All of us are often confined to traditional definitions of “things”, seemingly unalterable and permanent. We have forgotten that there is no absolute truth in an object or a person of this world. This condition has prevented new “things” from occurring.
The important “thing” in this project is not the matter of the subject, but is the idea to be realized after having allowed the artworks to be a guiding path into contemplation. To detach oneself is not only to be released from constraints of the body, but is also to be liberated from existing thoughts that have blinded the eyes and bound the spirit.
Text © 338 OIDA
338 OIDA GALLERY, Bangkok, Thailand
Objects are often regarded as ‘things’ that are ‘produced’ for a specific purpose which defines the ‘meaning’ of the ‘thing’. We would like to bring our patrons to a place whereby they can discard the old conceptions of seeing a ‘thing’ as what it has been constructed for, and enable them to visualize what it could be. In other words to re-conceptualize a ‘thing’ and thus free ‘things’ to create their own roles, producing a process and feeling shared between the viewer and the object in front.
“Things” is the art exhibition title of two new generation female artists: Jaitip Jaidee and Rattawalee Chanchawvalit. Both come from the same class of Bangkok University. In this exhibition, they use the same ‘thing’ that is closely associated to themselves as their major object of creativity; that is paper. This similarity of choice is truly coincidental. Although the material chosen is the same, each artist utilizes the ‘thing’ in an innovative manner imbuing it with her own artistic creative conceptions. This has led to a similar ‘thing’ (the material) that displays a completely dissimilar outcome. The process of producing all the works looks so simple and uncomplicated that the artists possibly employed only their ‘mind’, ‘concentration’, ‘discipline’ and ‘time’ as means of searching for their personal artistic solution and objective, regardless of the concern for any skills demanded. Anyway, there is the hope that these four simplistic components can pave the way to the creation of ‘new things’ that still contain the trace of old ‘things’.
For Rattawalee Chanchawvalit, this exhibition is her first step out of the campus’ art sphere. Similar to others artists, she yearns to make a living as a professional artist.
‘A dot’ is a fundamental element frequently utilized in visual art rendition. Normally, it is viewed as a small and insignificant component. In this work of Rattawalee, the ‘dot’ is the attempting of new challenging perspectives and alternative inventive expression of her individuality. This young female artist has initiated the formation of ‘dot’ elements with the help of pen refills with the size of 0.5 centimeter which are pressed upon sheets of paper or tissues with different configurations. They include various paper rolls, paper clay and even newly invented paper-based materials. One example is “Untitled (2010)”. This has allowed the ‘dot’ to blend with the original material and thus create a concept in which both the material and the’ dot’ have discarded their original ‘thing’ aspect and have interacted and merged into a vision which separates the normal concept of two ‘things’ into a perception and formation which is beyond the artists control and which becomes an ‘active’ force between the ’things’ and the viewers, each of whom may have a different visualization from the usual passive view of two ‘things.’
Meanwhile, “Paper axis#2”, “Paper axis#3”, and “Paper axis#4” feature an object that is waiting to be tossed away. They are composed of centers of paper rolls that are valueless, but are reconstructed for a new status. The artist does not make any modification of the original forms of paper rolls, except painting them white and dotting them with pens and needles, similar to the technique used in “Untitled”. Ironically, the objects that seem solid like paper rolls can be transformed by the other objects that seem fragile but sharp like black ball pens and needles’ ends, and appear decayed and decomposed. For Rattawalee, this transformation is not a blocking of the seemingly vulnerable and already dotted and damaged ‘thing’, but an offering for a new trend and direction in the concept of ‘things’.
While Rattawalee uses pens to execute the ‘dot’ as her dogma, Jaitip Jaidee, one of young up-coming artists in the Brand New Art Project 2012, who inversely uses pens to ‘scratch’ the ‘line’ components, which are poetically and continuously arranged upon various types and forms of papers. This shows the effort to search for open ‘spaces’ without specific identification of a particular ‘place’.
This execution of miniscule lines upon papers, with various amendments, illustrates a space that reflects abstract ‘things’ that are both visible and invisible. Those things also contain both a visual and hidden agenda, as well as presenting an abstruse topic. The diminutive ‘line’ well reflects upon the selected papers, the result of the artist’s dexterous management of black pens and black pencils as her devices. One example is to “Reflection of your(self) / Message to Understanding (2013)”, in which the artist draws numerous lines upon oil blotting paper, on both the front and the back. With this gimmick, these cosmetic sheets have transformed their own concrete status to an undefined and indescribable ‘thing’. Perhaps, these sheets may become a gateway to draw the viewers into new empty spaces. And, these sheets may also remind the viewers to think of something else, which depends on their memories and experiences, as well as their own manner and method of recollection.
Meanwhile, in the “Itself and You / Message to Understanding (2013)” project, the artist chooses to juxtapose a pile of white paper sheets with a framed mirror of similar scale on a marble top. Apparently, both objects play their assigned roles. The paper pile represents the perceptible space in reality, while the mirror redirects the reality from a surrounding and a distant space. Interestingly, both are installed not only mutually supporting each other, but also with the idea of attempting to draw viewers into a sphere the locale of which cannot be identified in reality.
For Rattawalee, each project displays her endeavor and obsession to search for a possible strategy in encouraging the ‘dot’ to construct its own independent essence. Her concept seems to envisage an undertaking of a figure that is both concrete and abstract at the same time. For her, art is only a device to lead to an unpredictable conclusion. Even the artist herself cannot foresee which destination her ‘dot’ upon her ‘things’ will lead to, or which result it will bring about. Nevertheless, the outcome of the passiveness of each ‘dot’ reveals a form with mysterious aesthetics, despite its indefinability.
For Jaitip, although all of her projects are similar in the simplistic strategy of visual repetitiveness, each of them has its own idiosyncrasies that can urge the viewers to jump and leap into other spheres dependent upon their own understanding. That sphere may be a closed rectangular library room, a green paddy field, an image site or an ambiguous area that is overlapped with reality. All versions mirror both present and absent status. These qualities are those that are associated and expressed in each of her works.
In conclusion, the association and the disassociation among all works in this exhibition are an interesting issue. They connect with the irony of two contrasting qualities, the juxtaposition of definable and indefinable object, and the comparison of real and invented space. These discourses are presented through the artistic media displayed. In this exhibition, there are paradoxical associations: ‘visibility and invisibility’, ‘concreteness and intangibility’, ‘existence and non-existence’, and ‘reference and non-reference’. With this variety of ironies, the viewers are freely allowed to seek for the true significance of each work, appreciated through their own individual visualization. The unmistakable vagueness can be considered as liberation for the viewers to create their own perceptions and realizations, leading to a diversity of meanings and interpretations.
The destination of both artists may be complicated to verbally describe. But, once exposed to their art works and trusting them as a guide, patrons may enjoy the moment of freeing their mind and allowing their imagination to soar. Moreover, this exhibition can be the chance for the visitors to revise their concept of ‘things’ that come and go. And, this can also be a moment to unchain both ‘thing’ and ‘selfness’, to leave only the essential relationship beyond.
Artworks in this exhibition
Series : MESSAGE FOR UNDERSTANDING, 2012-Present,On-going Project-