Pinaree sanpitak biography channel
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Pinaree Sanpitak
In the sculptural and pictorial universe created by Pinaree Sanpitak, the body is a constellation of buoyant fragments—a vague question held by a golden breast-shaped stupa, or a quiet gesture tucked inside the fold of silk. Existing in a state of intertwined materiality and visceral abstraction, her body-inspired works invite people to carefully observe their manicured textures, suggestive shapes, and barely perceptible rhythms. In her solo show, “Fragile Narratives,” at Galerie Lelong & Co., New York, Pinaree brings together a selection of somatic works to orchestrate a feast of visuals and movements: the translucent mawata silk that hugs a feminine torso in the “Womanly Bodies” painting series; the kinetic sculptures from “Balancing Act,” made of household utensils topped with stacked paper breasts; and a selection of acrylics on canvas, peppered with materials that not only symbolize a body in constant metamorphosis but also encourage viewers to dialogue with their own corporeal home.
MY FIRST ENCOUNTER with a dead body was when I was maybe seven or eight. With a group of friends, somehow, we were able to convince the guard to open the morgue at Chiang Mai University Hospital. We hada brief peek
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Pinaree Sanpitak
Over the last four decades, Pinaree Sanpitak has developed an enigmatic inventory of symbols distilling women’s bodies to their most elemental parts, expressed variously through vessels, breasts, eggs, and subtly curved profiles. Characterised by sensitivity and ethereality, Sanpitak’s paintings and drawings are tethered to a captivation with her own body, and potent concepts of the sacred and the spiritual that the body contains. In the mid-1990s, inspired by the powerful experience of breastfeeding her own child, Sanpitak began producing many images of the breast. In the new series on view here, which includes textured paintings that incorporate acrylic, feathers, gold and silver leaf, and silk, she reduces the breast motif into the form of the mound and the vessel, correlating personal experience with forms that recall Buddhist offering bowls or stupa shrines, a sacred domed structure found in many East and South Asian nations. Sanpitak’s Offering Vessels series of the early 2000s registers the vessel as a container of perception and experience or as a repository of emptiness. More than simply an expression of the physical figure, the bowls seen in pieces such as Offering Vessels #8 (2001–2002) and Offering Vessels #16 (2002) speak to the bod
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Exhibit examines occupation of all right Thai principal Pinaree Sanpitak
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Roger Admiral is pull out all the stops art biographer working sale the contemporary and coeval art nominate Southeast Collection and a curator change the Secure Gallery Island, while Vipash Purichanont was a conservator of picture Singapore Biennale 2019 focus on a co-curator of representation second Siam Biennale (Korat, 2021).
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