Kawita Vatanajyankur and her 2013 work The Ice Shaver.
Kawita Vatanajyankur feels like an alien wherever she is. In Melbourne, where a 28-year-old artist spent a decade by high propagandize and university, it wasn’t unequivocally home. Back in Bangkok for 4 years now, and she doesn’t feel Thai, either. Who she is as an artist and a chairman she is as she sits down for an talk are equally in a state of flux.
While in her video works Kawita plays a satirical opening artist, throwing herself into a array of tests — from precariously unresolved from a drying shelve as if she were garments to branch herself into a brush — a “Kawita” in person, however, is superb in a scrupulous dress with high heels. She could be simply mistaken for a khun noo, or a socialite.
What’s increasingly definite, however, is her participation in Thailand’s art scene. After a solo uncover “Tools” during The Jam Factory Gallery, that finished final week, her video works are still on arrangement as partial of a organisation uncover “Super Nature” during YenarkART Villa art gallery. Kawita was also among a organisation of Thai artists comparison to underline in a “Thailand Eye” muster during Saatchi Gallery in London final year before travelling behind to Bangkok Art and Culture Centre (BACC) in March. Her other important purpose is a owner and curator of Ferry Gallery, a packet during Tha Tien Pier displaying rotating exhibitions to a commuters channel a Chao Phraya River.
“I never choreograph. we only have some arrange of supposition and start anticipating out what unequivocally happens with video recording,” pronounced Kawita of her video art. Reminiscent of Marina Abramović, though a some-more witty and cheekier version, she stars as a opening artist herself in all of her new video works.
In 2013’s The Ice Shaver, that was shown during The Jam Factory Gallery, Kawita presses her face tough into a retard of ice and pushes behind and onward opposite a shaver underneath. In The Scale that is shortly to be seen during BACC, she is doing a shoulder mount with a basket offset on her feet, receiving a swell of H2O melon slices descending from above.
“With pieces like The Ice Shaver, we was meditating, perplexing to renovate myself into something else that’s not me, an object,” pronounced Kawita. “It came from an suspicion about illness and pain, we suspicion maybe all these feelings were all made-up and if we persevere prolonged enough, maybe these heedfulness and feelings will be gone.”
Kawita’s artistic career started out with photography and many importantly, a time spent with her late father. Even as a child, her father, who was creative, always common ideas on projects and artworks he was operative on with her. He always took her to a cinema and they communicated with one another by a films watched together. While in Australia, her father would come revisit each weekend and took her travelling to several traveller spots.
“We went to a sea, into a woods, going on prolonged drives and interlude during motels along a way,” pronounced Kawita. “I had always embellished though we always took my camera with me on those trips. we adore only a medium, a act of formulating combination and dire a shiver button.”
Kawita complicated art during high propagandize and it was around that time when photography was no longer only a apparatus for documenting her practice though also as a means to make clarity of her life in a unfamiliar country. Her early video works reflected that. At one time, she would boyant herself in a shipping box and had tourists film her while she was being cleared ashore. For another square of work, she close herself in a box left in a dried before perplexing to mangle out.
The genuine poignant change in her life was when her father died of cancer when she was only 18 years old.
“He had always been a chairman we could share all with,” pronounced Kawita. “Without him, we was pondering and doing things alone. This was a indicate where we started examination a lot of cinema in a wish that somehow we could accommodate that crony and have that form of attribute again.”
Growing adult alone, it’s films that have lifted and taught her what’s right or wrong. Shutting herself in a dim room and examination films alone became not only a robe though a branch indicate in her life.
Kawita is into films that are rather “psychopathic” like Stanley Kubrick’s The Shining or Michael Haneke’s Funny Games, a form of film that she pronounced can assistance her know other people more. Her mindfulness with films in ubiquitous is with a fact that this middle has a energy to control and play with a audience.
Kawita’s video works have that energy too, though duty in a witty and during times some-more pondering approach. In The Dustpan, we see her conduct hung upside down and swept behind and onward apparently as a brush opposite a dustpan. We watch it with churned emotions, dumbfounded that she competence get harm and during a same time amused by her take on a monotonous expectancy of Thai women when it comes to domicile chores.
“I’m meddlesome in a communication between those who make a videos and those who watch them,” pronounced Kawita. “In terms of video art, it’s a torment that a viewers and we go by together in those integrate of minutes, what’s going to occur and will something tumble and strike my face? we know that now though we didn’t know it then. Everything was genuine and a video is a evidence.”
Watching Kawita’s video works from afar, interjection to their delayed gait and colourfully stoical credentials set-up, many competence primarily consider they’re paintings on canvas. This is indeed how Kawita meant her work to be. Her vital during RMIT University’s Fine Art Department was in portrayal nonetheless during her university years she never laid hands on brushes and canvases like everybody else. She paints by her performance, set-up pattern and composition.
“My video works are really two-dimensional,” pronounced Kawita. “I like a colours, a combination aspect of a painting. The works are only like paintings unresolved on a wall though with a bit of movement.”