Like in the works of Pannaphan Yodmanee, who combines found objects, natural elements such as rocks and minerals, and painted elements that recall traditional Thai art and architecture, while contemplating Buddhist philosophies and their impact on everyday living. Yodmanee explains that her practice has always utilised raw material, to explore themes of loss, suffering, devastation, and the karmic cycles of death and rebirth. In her paintings featured in the show, the image of the sky, crossed with chains, speaks to the state of war, the division of territories, and the separation of horizons. In close comparison, we notice the work of photographer Kamonlak Sukchai, who is known for her collage work and her exploration of Southeast Asian folklore and its influence on history, national identity, religious beliefs and sexual methodology.

In a series titled ‘Blue Fantasy,’ the artist uncovers the complex layers of social inequality with relation to the Royal Family; and argues that with the consistent manipulation of history, our senses have been controlled and oppressed by political lies. In a similar vein, artist Abdul Abdullah’s work is motivated by a longstanding concern on the complex feelings of displacement and alienation associated with histories of diaspora and migration.

For Shereen, the decision to bring together artists from different cultural backgrounds reflects a desire to create a multifaceted discussion about how heritage is both threatened and preserved. “The process involved identifying works that, while distinct in their aesthetics or approach, communicate a shared concern about the fragility of culture in an increasingly unstable world. We likely looked for pieces that could stand alone yet still contribute to a broader, interconnected narrative about survival and cultural memory.”

The curatorial thread is bound together by stories of survival and transformation, ensuring that the works display the tension between individual and collective experiences. The Director elaborates that they aimed to create a dialogue between the past and present, focusing on how tradition interacts with contemporary realities. With the recurrent use of layers, and fantastical elements, the artworks collectively comment on the broader theme of collapse, while still allowing each piece to maintain its distinctive perspective and voice.

‘Orama,’ is on display at TARS Unlimited, Bangkok until 1st December 2024.