/|~~~~~~~~~~~~~~~~~~||/|, 2025

Glass, aquatic plants, concrete bars, soaps, a poster, a model, aquarium lights, and aquarium equipment

When you enter 13/ 3 Soi Atthakan Prasit, whether by day or by night, the gallery space seems to have been modified, as if the cards had been dealt once again since 2018.*

The windows have been removed and repositioned to the floor. In the centre of the room, raised on a grid of concrete bars, sits an aquarium. Inside, a meticulously designed aquatic escape houses a miniature hut. In the corner is a bag of water containing a fish-shaped bar of soap recalling the repertoire of pet shops and aquarium stores.

Inside a ‘sequence shot’, based on the strange collage of diverging elements, the framing is precise. The scene is set and built up as one goes along, much like a composition whose parts either complement or cancel each other out. A state of infinite realities in which anything is possible: a fish-less aquarium houses a makeshift dwelling, windows become sculptures, the partitioning bars of a parking lot become pedestals to erect an aquatic landscape as a monument. We are no longer in a reality where everything has its function, its defined representation. Everything is transformed, and slips away like a game of mirrors, resemblances, dissimilarities, and illusions.

The ‘exhibition' thus becomes a container for the articulations of the visible, where perception and the gaze redefine meaning, and replay metaphors. It becomes a space with the cracked walls of a fragile world and/or a peaceful environment that is porous to the outside world. The inside and the outside are linked because what happens here also happens elsewhere. It's as if the world entered into the exhibition, drawing its balances and equations from the lilting combinations of a language both universal and subjective. The artistic space no longer contains form, category, or manifesto. It is alive and existential.