Apichaya Wanthiang

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	<title>Apichaya Wanthiang</title>
	<link>https://apichayawanthiang.com</link>
	<description>Apichaya Wanthiang</description>
	<pubDate>Tue, 10 Dec 2024 22:37:24 +0000</pubDate>
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		<title>HOME</title>
				
		<link>https://apichayawanthiang.com/HOME</link>

		<pubDate>Tue, 07 Jun 2022 13:49:53 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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		<description>APICHAYA 
(PIYA)

 WANTHIANG
	

	︎
	︎︎︎
	

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		<title>WEBSITE</title>
				
		<link>https://apichayawanthiang.com/WEBSITE</link>

		<pubDate>Tue, 21 Sep 2021 13:00:16 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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		<description>APICHAYA 
(PIYA)

 WANTHIANG
	

WORK


BIO/CV

PRESS
CONTACT


︎&#38;nbsp;

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	<item>
		<title>WORK</title>
				
		<link>https://apichayawanthiang.com/WORK</link>

		<pubDate>Tue, 21 Sep 2021 13:30:50 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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WORKS


Gleaned from

The night laid a hundred eyes on my skin
Weaving, fishing, cutting, dryingAhead, insteadSome body else
After image&#38;nbsp;
When the first thought is touch

Of all the places I’ve been and have yet to go


In changing yesterday’s weatherI’ve been here beforeEverything flowsBurn, rage, rise Evil spirits only travel in straight linesDriftwood and ghosthunters 31 BuildingsWhile the light eats away at the colors17 Years cicadaConcrete is stranger than fictionPractice modelsAll digressions asideThe table turnsA sudden outburst of laughterWithout waiting for her replyA conversationHow to transform stories from body to body, and from body to objectGeography of A


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		<title>BIO/CV</title>
				
		<link>https://apichayawanthiang.com/BIO-CV</link>

		<pubDate>Tue, 21 Sep 2021 15:23:39 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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		<description>BIO

Apichaya (Piya) Wanthiang (born in Bangkok, Thailand and based in Oslo, Norway) holds a BA from Sint-Lukas, Brussels and an MA in Fine Arts from Bergen Academy of Art and Design (KHiB). Through a range of different mediums and approaches, she&#38;nbsp; constructs environments in order to study how they influence our perceptions, behaviours and interactions. Piya has had solo exhibitions at the Munch Museum, Kristiansand Kunsthal, Hordaland Kunstsenter, amongst other. She worked part time as Assistant Professor at Trondheim Academy of Fine Art, and the Faculty of Fine Art, Music and Design (KMD) in Bergen. She has been on the board of LNM, the Norwegian Painters Association and of UKS, The Young Artists’ Society. Her work is amongst other parts of Oslo Kommunes Kunstsamling, Sogn og Fjordane Kunstmuseum and Kistefos Museum.&#38;nbsp;

CURRICULUM VITAE


APICHAYA WANTHIANG&#38;nbsp;
TH/BE based in Oslo, Norway.


Education


2010/2012&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Master in Fine Arts, KHIB, Academy of Fine Arts, Bergen, Norway2006/2009 &#38;nbsp; &#38;nbsp; Bachelors in Visual Arts, Sint-Lukas Brussels, Belgium


Solo projects
2026 &#38;nbsp; &#38;nbsp;(Upcoming) Artipelag, Stockholm, Sweden

2026 &#38;nbsp; &#38;nbsp;(Upcoming)&#38;nbsp;The Vigeland Museum, Oslo, Norway

2024 &#38;nbsp; &#38;nbsp;Gleaned from, galleri Brandstrup, Oslo, Norway

2024 &#38;nbsp; &#38;nbsp;The Night Laid a Hundred Eyes on my Skin, Storage, Bangkok, Thailand&#38;nbsp; 
2023 &#38;nbsp; &#38;nbsp;Weaving, Fishing, Cutting, Drying BGE Contemporary, Stavanger, Norway2023 &#38;nbsp; &#38;nbsp;Ahead, Instead Trykkeriet, Bergen, Norway
2022 &#38;nbsp;&#38;nbsp; Some Body Else, Solo Oslo II, Munch Museum, Oslo, Norway
2021&#38;nbsp; &#38;nbsp; &#38;nbsp;When the First Thought is Touch, Brandstrup, Oslo, Norway2021 &#38;nbsp; &#38;nbsp; In Changing Yesterday’s Weather, BGE Contemporary, Stavanger, Norway2020&#38;nbsp; &#38;nbsp; &#38;nbsp;I’ve Been Here Before, Kristiansand Kunsthall, Kristiansand, Norway2019 &#38;nbsp; &#38;nbsp; Burn, Rage, Rise Heimdal Kunstforenening, Heimdal, Norway2018 &#38;nbsp; &#38;nbsp; Evil Spirits Only Travels in Straight Lines, UKS, Oslo, Norway2018 &#38;nbsp; &#38;nbsp; Driftwood and Ghost Hunters, LNM, Oslo, Norway2017 &#38;nbsp; &#38;nbsp; While the Light Eats Away the Colors, Galleri 3,14, Bergen, Norway2015 &#38;nbsp; &#38;nbsp; A Sudden Outburst of Laughter, Trykkeriet, Bergen, Norway2014 &#38;nbsp; &#38;nbsp; Without Waiting For Her Reply (WWFHR), USF, Bergen, Norway2012 &#38;nbsp; &#38;nbsp; Geography of A, Hordaland Kunstsenter, Bergen, Norway2010 &#38;nbsp; &#38;nbsp; Going Back From X into Minus, Martin van Blerk Gallery, Antwerp, Belgium

Selected collaborative projects


2020&#38;nbsp; &#38;nbsp;2in1, with Anna Daniell, Galleri Brandstrup, De-centralized Chart Art Fair, Oslo2018&#38;nbsp; &#38;nbsp;  31 Buildings with Cristian Stefanescu, HKS, Bergen (NO)2017&#38;nbsp; &#38;nbsp;  Pilot -17 Years Cicada, with Ming Hwa Yeh, Taipei Performing Arts Center, Taiwan2017&#38;nbsp; &#38;nbsp;  Practicing Receptivity, with J. Herbert at Louise Dany, Oslo2017&#38;nbsp; &#38;nbsp;  Exhibition in Progress-Concrete is Stranger than Fiction with C. Stefanescu, HKS, Bergen (NO)2014&#38;nbsp; &#38;nbsp;  A Conversation pt.1-4, with N. Barnett &#38;amp; R. Nesbitt, Atlantic Studios, Cape Town (ZA)


Public commissions
2026 &#38;nbsp; &#38;nbsp;(Upcoming) Ny Sikkerhetspsykiatri, Ila Baerum, Norway2024 &#38;nbsp; &#38;nbsp;Timekeeper, New Drammen Hospital, Drammen, Norway2023 &#38;nbsp; Try Walking Backwards, She Said. Søndre Borgen Helsehus, Asker, Norway2021&#38;nbsp; &#38;nbsp; Of all the places I’ve been and have yet to go, Ruseløkke Skole, 10 wall paintings, Oslo, Norway2020&#38;nbsp; &#38;nbsp;Everything Flows, Wall-based work/ Painting for KORO, Campus Ås, Ås


Selected group exhibitons
2024 &#38;nbsp; After the Sun, Gammel Strand, Copenhagen, Denmark 
2024 &#38;nbsp; After the Sun, Buffalo AKG Art Museum, USA2021&#38;nbsp; &#38;nbsp; Delux, She Will, Ski, Norway2020&#38;nbsp; &#38;nbsp;Et Kollektivt Kaosmos, Kunsthall Oslo, Norway2019&#38;nbsp; &#38;nbsp; Binyuan/ Daniell/ Engelsen Espedal/ Mbamba/ Wanthiang, Galleri Brandstrup, Oslo2019&#38;nbsp; &#38;nbsp;  Olje og Begjaer, Blomgvist &#38;amp; QB galleri, Oslo Norway2017&#38;nbsp; &#38;nbsp;  Oslo City Hall Studios, Oslo, Norway2016&#38;nbsp; &#38;nbsp;  Roaming – UKS, Oslo, Norway2016&#38;nbsp; &#38;nbsp;  Twofold Installation for Barents Spectakel, Kirkenes, Norway &#38;amp; Nikel, Russia2015&#38;nbsp; &#38;nbsp;  Herfra, by J. Hestvold &#38;amp; B. Clementsen, Kunstnerforbundet, Oslo, Norway2012&#38;nbsp; &#38;nbsp;  65 Malerien, Bergenkjøtt, Bergen Norway2012&#38;nbsp; &#38;nbsp;  A Ride Full of Traps, Graduation Show at Bergen Kunsthall, Norway2012&#38;nbsp; &#38;nbsp;  Between the Four, F-blok Gallery, Bristol Engeland2011&#38;nbsp; &#38;nbsp; &#38;nbsp;17 M.O.H exhibition, Bergenkjøtt, Bergen, Norway2010&#38;nbsp; &#38;nbsp;  Canvascollectie at Bozar, Brussels, Belgium2009&#38;nbsp; &#38;nbsp; Don’t Know Whether I’m Coming or Going, EEA, Beelitz Heilstatten, Germany2009&#38;nbsp; &#38;nbsp;  Final Bachelor Exhibition, City Hall Schaerbeek, Brussels, Belgium


Selected curatorial


2015&#38;nbsp; &#38;nbsp;  If On a Winter’s Night, a Room, with Cristian Stefanescu, A-Works, Bergen, Norway2014&#38;nbsp; &#38;nbsp;  I Love Your Manners Full of Deceit, KNIPSU, Bergen, Norway


Residencies
2026 &#38;nbsp; &#38;nbsp;(Upcoming) Artica, Svaldbard, Norway
2024/2025 ISCP New York, USA &#38;nbsp;&#38;nbsp;2023 &#38;nbsp; Kitamura studios, Kyoto, Japan (Trykkeriet collaboration)


2021&#38;nbsp; &#38;nbsp; NKdale, Dale, Norway2015&#38;nbsp; &#38;nbsp; BARinternational pt.2, Kirkenes, Norway &#38;amp; Nikel, Russia2014&#38;nbsp; &#38;nbsp; Sober and Lonely, Johannesburg, ZA 2014&#38;nbsp; &#38;nbsp; BARinternational pt.1, Kirkenes, Norway &#38;amp; Nikel, Russia2012&#38;nbsp; &#38;nbsp; Artist in residency, Stazioni Di Topolo, Topolo, Italy2009&#38;nbsp; &#38;nbsp;EEA09, European Exchange Academy, Beelitz Heilstatten. Germany


Teaching / Talks / Workshops


2025 &#38;nbsp;Guest teaching, Oslo National Academy of the Arts, Oslo, Norway
2023 &#38;nbsp; External assesment, Oslo National Academy of the Arts, Oslo, Norway2023 &#38;nbsp; Guest teaching, Oslo National Academy of the Arts, Oslo, Norway2022&#38;nbsp; &#38;nbsp;Assistant Professor, The Faculty of Fine Art, Music and Design (KMD), Bergen, Norway2022 &#38;nbsp; Bachelor Censor, The Faculty of Fine Art, Music and Design (KMD), Bergen, Norway2021&#38;nbsp; &#38;nbsp; Guest teaching, Oslo National Academy of the Arts, Oslo, Norway2019&#38;nbsp; &#38;nbsp;  Assistant Professor, NTNU/KiT, Trondheim, Norway2018&#38;nbsp; &#38;nbsp;  Assistant Professor, NTNU/KiT, Trondheim, Norway2017&#38;nbsp; &#38;nbsp;  Guest teacher, NTNU/KIT, Trondheim, Norway2016&#38;nbsp; &#38;nbsp;  Involved Urban Practice: Practice Models, Academy of Fine Arts Vienna, Austria2016&#38;nbsp; &#38;nbsp;  Guest teacher: Source Materials, at NTNU/KiT, Trondheim, Norway2015&#38;nbsp; &#38;nbsp;  Speculating on Art Education, hosted by Kungl. Konsthögskolan, Stockholm, Sweden2015&#38;nbsp; &#38;nbsp;  Artist talk at Hacettepe University, Ankara Turkey2015&#38;nbsp; &#38;nbsp;  Guest teacher, When Things Cast No Shadows, KHIB, Bergen Norway2014&#38;nbsp; &#38;nbsp;  Assistant Professor in Painting, Fine Arts, KHIB, Bergen Norway2014&#38;nbsp; &#38;nbsp;  Guest Advisor / Critics’s Round on the EEA14-G, Beelitz Heilstatten, Germany2014&#38;nbsp; &#38;nbsp;  Guest teacher, Writing in Space-Spectatorship in Installations, KHIB, Bergen Norway2014&#38;nbsp; &#38;nbsp;  Guest teacher at NTNU/KIT, Trondheim, Norway2013&#38;nbsp; &#38;nbsp;  Guest teacher: Karusell – Introduction to painting, KHIB, Bergen Norway2013&#38;nbsp; &#38;nbsp;  Guest teacher: Scale and its Unfolding (On Process), KHIB, Bergen, Norway2012&#38;nbsp; &#38;nbsp;  Guest teacher: Painting on Paper, KHIB, Bergen, Norway


Selected relevant work


2024/2026&#38;nbsp; Springbret Jury, Kistefoss Museum
2022/2023&#38;nbsp; Den Nasjonale Jury
2022/2023&#38;nbsp; UKS Styre 
2018/2020&#38;nbsp; LNM Styre2020&#38;nbsp; &#38;nbsp;Dialogue partner - SKAUS, Stavanger, Norway2016&#38;nbsp; &#38;nbsp;  Scenography for Table Turns, Bøen &#38;amp; Sletteland2013&#38;nbsp; &#38;nbsp;  Assistant for fellowship researcher Ellen Røed, Galleri 3,14, Bergen, Norway2012&#38;nbsp; &#38;nbsp;  Assistant for Sol LeWitt retrospective at Museum ‘M’, Leuven, Belgium2011&#38;nbsp; &#38;nbsp;  Co-coordinator Lectures: Materialized&#38;lt;=&#38;gt;Dematerialized, KHIB, Bergen, Norway2011&#38;nbsp; &#38;nbsp;  Assistant for fellowship researcher Patrick Entian, KHIB, Bergen, Norway


GrantsFerlov Mancoba Foundation Grant 2025
Sasakawa Norge 2023Ingrid Lindbäck Langaards Stiftelse 2022Art Council Norway, Kunstnerassistentordning: 2021-2022, 2021-2020


Norske Billedkunstnere - project funding: 2025, 2021, 2019, 2018, 2016, 2015, 2014Norske Billedkunstnere - working grants: 2022-2020, 2019-2018, 2017, 2014, 2013Kulturdirektoratet - Fond for Lyd og Bilde: 2025
Art Council Norway - project funding: 2025, 2023, 2021, 2019, 2019, 2017, 2016, 2015, 2013Art Council Norway - working grant: 2022-2026, 2016, 2015Arts Council Norway - aspirant position: 2013
Regional Support / KIN: 2019, 2025Bergen Kommune - project funding: 2016, 2015, 2014, 2013Unge Kunstenernes samfund - travel funding: 2015Office for Contemporary Arts - international support: 2023, 2014


Studio grants
2016/2017&#38;nbsp; &#38;nbsp; Oslo Rådhus, studio C allocation, 18 months2013/2015&#38;nbsp; &#38;nbsp;  Bergen Kommune, studio for newly established artist, Kunstnerverksted Cs55


Collections


The City of Oslo Art Collection, Grieg Samling, Sogn og Fjordane Kunstmuseum, Utenriksdepartementets (UD)


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		<title>PRESS</title>
				
		<link>https://apichayawanthiang.com/PRESS</link>

		<pubDate>Wed, 24 Nov 2021 12:21:10 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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PRESS


Some Body Else, at Munch Museum (2022)
Mediation video about work (English):- Link to video

Review in Kunstkritikk (English):
- Link to text

Review in Kunstkritikk (Norwegian):
- Link to text

Review in NRK (Norwegian):
- Link to text

Review in Morgenbladet (Norwegian, behind paywall):
- Link to text


When the first thought is touch, at Galleri Brandstrup (2021)Review in Kunstkritikk (Norwegian):
- Download text
- Link to text


Review in Klassekampen

(Norwegian):
&#60;img width="1029" height="1019" width_o="1029" height_o="1019" data-src="https://freight.cargo.site/t/original/i/76b3cacb1303404bc0951b4ab10b26386ad9a297e83b0a1bcf0305592e542e0e/Melding_Klassekampen_WhenTheFirstThought_edited.jpg" data-mid="125929599" border="0"  src="https://freight.cargo.site/w/1000/i/76b3cacb1303404bc0951b4ab10b26386ad9a297e83b0a1bcf0305592e542e0e/Melding_Klassekampen_WhenTheFirstThought_edited.jpg" /&#62;


In changing yesterday’s weather,&#38;nbsp;

at BGE Contemporary

 (2021)


Review in Stavanger Aftenblad (Norwegian):

&#60;img width="2580" height="3792" width_o="2580" height_o="3792" data-src="https://freight.cargo.site/t/original/i/8f368f4ee815ee913694cd0373aae816a664b33b54035216d0c5afd5e16183d9/stavanger-aftenblad.jpg" data-mid="141067754" border="0"  src="https://freight.cargo.site/w/1000/i/8f368f4ee815ee913694cd0373aae816a664b33b54035216d0c5afd5e16183d9/stavanger-aftenblad.jpg" /&#62;


I’ve been here before, at Kristiansand Kunsthall (2020)

Review in Kunstkritikk (English):
- Download text- Link to textReview in Kunskritikk (Norwegian):- Download text
 -&#38;nbsp;Link to text


Evil spirits only travel in straight lines, at UKS (2018)


Interview in Kunstkritikk (English):
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- Link to text
Interview in Kunskritikk (Norwegian):
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- Link to text


Interview in Subjekt (Norwegian):
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- Link to text


Review in Subjekt (Norwegian):
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 Driftwood and ghosthunters,&#38;nbsp; at LNM (2018)


Interview in Subjekt (Norwegian):
-Download text-Link to text


Review in Morgenbladet by Oda Bhar (Norwegian):


&#60;img width="2100" height="1520" width_o="2100" height_o="1520" data-src="https://freight.cargo.site/t/original/i/90f0bb264d805309f1f8675faf343f4cd86fae811096db9373b1feb5e6423d44/morgenbladet.jpg" data-mid="125529691" border="0"  src="https://freight.cargo.site/w/1000/i/90f0bb264d805309f1f8675faf343f4cd86fae811096db9373b1feb5e6423d44/morgenbladet.jpg" /&#62;


Studio grant oslo Rådhus (2017)


An interview in Aftenposten (Norwegian), with the three artists that got the studio grant in Oslo Rådhus, in connection with Oslo Open 2017.
- Link to text


While the light eats away at the colors, at Stiftelsen 3,14 (2016)


Review in Kunstkritikk (Norweigan):

- Download text


- Link to text


Review in Klassekampen (Norwegian):


&#60;img width="1772" height="1268" width_o="1772" height_o="1268" data-src="https://freight.cargo.site/t/original/i/613ab156503afd3118a1b9c433904f65dfe65b29b53ae38ffa512adf4958310b/klassekampenreview.jpg" data-mid="125529690" border="0"  src="https://freight.cargo.site/w/1000/i/613ab156503afd3118a1b9c433904f65dfe65b29b53ae38ffa512adf4958310b/klassekampenreview.jpg" /&#62;


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		<title>CONTACT</title>
				
		<link>https://apichayawanthiang.com/CONTACT</link>

		<pubDate>Tue, 21 Sep 2021 15:33:25 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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CONTACT

piyamake[at]hotmail.com


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		<title>Gleaned from</title>
				
		<link>https://apichayawanthiang.com/Gleaned-from</link>

		<pubDate>Tue, 10 Dec 2024 22:37:24 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

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Gleaned from
Painting installation shown at Galleri Brandstrup
 2024, Oslo, Norway

Rubber boots trampling dried plants. Snapping of branches and stalks. Stepping in and out of light beams. Bucket swinging. Left to right. Rough hands probing the muddy surface just after the fields filled with water, before the sand and water mixture became too murky. A dense wall of insect chirps. Kissing, or is it pecking the skin? Not one paddy crab was found that night.


*


Rubber boots trampling dried rice stalks. Stepping up and down from raised surfaces. Snap, snap, snap. Light dots strewn across the fields. Black crickets spring up high, then bury themselves under the dried stalks. Homemade thunder machine: a large plastic bag, taped to a bamboo stick. Left, right, swoosh, swoosh. Tricking the crickets into thinking the weather has turned. And when they surface, thud! They’re plucked and put into a mesh bag. 


*


Rubber boots trampling moist flowerbeds. Rapid clack-clack-clack. Silence. Clack-clack-clack. Silence. Rows and rows of thin rubber trees. A mini dot of light in the distance, insect like. White liquid fills the scar-like grooves. Silent drip, drip, drip. Clack-clack-clack. Drip, drip, drip. Until the sky shifts from phthalo blue to violet red. 


***

This exhibition showed night scenes taking place in a rural rice farming community in Thailand: locals forage for insects, look for crab, cut rubber. Light was the main protagonists, instead of people. Here the light helps the locals and the viewers navigate their environment but the lights presence also disturbs the animal and plant environments and blurs our vision.

Photocredit: Øystein Thorvaldsen


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	<item>
		<title>The night laid a hundred eyes on my skin</title>
				
		<link>https://apichayawanthiang.com/The-night-laid-a-hundred-eyes-on-my-skin</link>

		<pubDate>Tue, 10 Dec 2024 22:14:57 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

		<guid isPermaLink="true">https://apichayawanthiang.com/The-night-laid-a-hundred-eyes-on-my-skin</guid>

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The night laid a hundred eyes on my skin
Installation shown at Storage
 2024, Bangkok, Thailand

Our house was attacked at night, by costumed men on horses, carrying spears. My family ran to the back of the house to a nearby canal, and hid under a bridge. We all huddled together.*On one occasion I was bitten by a tiny rattle snake. Every day in order to appease the spirits and to ask for healing, I would bring small food offerings to a wild betel plant, where a good spirit lives.*On another occasion sneaking from behind adult shoulders, I saw the buffalo’s intestines spread out on a checkered piece of textile. An old man was reading my aunt’s fortune in them.When I asked my grandmother about these separate yet solid recollections, she shook with laughter. Your imagination ran wild, none of this happened, she chuckled.*When I asked my close cousin whether she remembers, she nodded no and tells me that my mind has kneaded separate events into one. We only remember what feels important to us, she offers.*Does it matters that things didn’t happen as I recall? I’m surely still shaped by this strange amalgamation of images, stories and ideas. They are close and concrete, they have angles and textures,&#38;nbsp; I can wield worlds from them.***The exhibition consisted of a video installation 28’54’’, a light installation comprising of three headlamps and four paintings of varying sizes. 


In a darkened room, the viewer will pass a wall of Palmyra leaves, the leaves are arranged to block the main projection from view, yet some light escapes through the leaves where the insects have eaten away some fibres. Upon entering you are met with an short and narrow corridor, on the left side the wall of paylmyra leaves backlit, an on the right the traces of the insect projected and enlarged by the light. Upon entering the room you see three laters of netted materials, the same video images projected across the three layers of textiles, on the textiles we also see an organic sown pattern. You can walk to the end of the room, sit on the bench and watch the video. The video shows nightly scenes, foraging of insects, cutting of rubber, motor bike rides, making of bon fires, and so on. The edit focuses on the light as the main protagonist, the light guides the view, it shows us mainly what the hands are doing and is the main character at play. The net material diffuse the image, disperse it, repeats it three times. 


Once out of this room, you’ll find a row of three headlights, mounted on the wall. The headlights activates the empty areas on the opposite wall, the walls without painting. They create a rhythm that invites the viewer to look at the opposite wall, where with regular intervals they’ll find four paintings of night environments devoid of people. 

Image credit: Atelier 247The exhibition was kindly supported by OCA, Office for Contemporary Art, Norway

	
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	<item>
		<title>weaving, fishing, cutting, drying</title>
				
		<link>https://apichayawanthiang.com/weaving-fishing-cutting-drying</link>

		<pubDate>Mon, 04 Dec 2023 13:44:20 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

		<guid isPermaLink="true">https://apichayawanthiang.com/weaving-fishing-cutting-drying</guid>

		<description>

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weaving, fishing, cutting, drying, 

fixing, sharpening, tying, dying
A painting installation shown at BGE Contemporary
 2023, Stavanger, Norway

This exhibition consisted of &#38;nbsp;19 paintings of various sizes, painted with acrylics on canvas and several textile dividers that organised the visitors movement in space. All the motifs for this exhibition are from my childhood home, a village in Northeast Thailand. Depicted are different bodies, doing everyday chores. People’s faces are solved differently. Some unclear, others more defined. The emphasis lies on their hands and what they create. The repetitive rhythm of everyday activities inside the work as well as the spatialisation through the textile dividers are central. Furthermore there’s a play with omissions, through suggestions of action outside the canvas’ edges or through erasure.&#38;nbsp;

Image credit:&#38;nbsp;Markus Johansson/ Bitmap


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		<title>Ahead, Instead</title>
				
		<link>https://apichayawanthiang.com/Ahead-Instead</link>

		<pubDate>Mon, 04 Dec 2023 12:58:40 +0000</pubDate>

		<dc:creator>Apichaya Wanthiang</dc:creator>

		<guid isPermaLink="true">https://apichayawanthiang.com/Ahead-Instead</guid>

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Ahead, Instead


Woodblock prints
In collaboration with Shoichi Kitamura&#38;nbsp;
2023, shown at Trykkeriet Bergen

Ahead, Instead is the result of a two part project. At first, I traveled to Kyoto, Japan to learn the basics of Japanese woodblock printing from master carver Shoichi Kitamura. While in Japan, I got to visit several buildings designed by Tadao Ando as well as the Isamu Noguchi museum. My interest lies in Ando’s use of weather elements, such as light and wind, to animate his architectural spaces and in Noguchi focus on texture and the haptic. For the second stage of the project, Kitamura traveled to Bergen to work with me at Trykkeriet. 

For this exhibition I have taken as my starting point the photographic images gathered in Japan. In several ways this exhibition is a travelogue: firstly, all the images come from specific encounters I’ve had in Japan. Secondly, I’ve tried to attend to the performative aspects of images, revisiting long term interests such as the construction of depth by other means than perspective, repetition and difference and peripheral view. 

Traditional Japanese woodblock print or Mokuhanga follows a strict set of rules. The two most important are: each color layer has its own carved plate and each plate has precise registration marks (consisting of a carved and indentured corner and one additional groove). The registration mark allows for each printed layer to align. The result of these two aspects are clear images, with crisp outlines and color alignment.

In this exhibition I’ve tried to challenge these two preset conditions. Most of the images are made from one plate, but have been printed several times in different colors. Instead of being precise, I made use of an approximate registration mark. The outcome of this approach is a slightly off-set and misaligned image. 

For this exhibition Kitumura has carved and printed four images for me. He’s doing this through reduction print. This technique only allows for a preset number of prints. Once a layer is carved and printed, the next ones are carved and printed from the same plate. It’s a kind of extraction with preset limits, where each next layer is already embedded in the previous one. You cannot go back and do over, thus the process is harder to control. 

The scope of what you’ll encounter in Ahead, Instead, exists in this generative tension. Kitamura´s abilities to master and control every aspect of his craft versus my attraction to energetic, direct, happy accidents that are process led and geared towards an unexpected outcome.

The project and exhibition is supported by Scandinavia-Japan Sasakawa Foundation Norge, Kulturrådet, The Norwegian Embassy in Tokyo, Municipality of Bergen, Norwegian Printmakers, Globus Opstart Nordisk Kulturfond, Trykkeriet.


Image credit: Trykkeriet


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