In the exhibition "Subcutaneous Infrastructure" at Bridge Art Space, a set of plaster sculptures by Natee Tubtimthong and those made of metal wire with found objects by Wisut Yimprasert don't clash, but complement one another with smooth cohesion.
Mixed together and installed throughout the gallery's three floors, the two artists dig deep into the idea of structure and the internal beauty of overlooked objects in everyday life.
Inspired By America by Wisut.
With pieces like Inspired By America and Drum Of Voice, Wisut imagined what the structure of a rock or the hollowness inside the drum looks like and portrayed it through the intricate working of metal wires, revealing aesthetics of the mundane through the artist's own interpretation.
While some of the installation pieces by Natee like Cow Skull Study, for which he split the animal's skull for a closer look inside, is fairly straightforward, pieces in "The Memory Ship" series in which he blended human shapes, bodies and faces with parts of a ship invite endless reactions.
Life talked to the two artists about their concept of sculpture, the exhibition and their working process.
Can you talk about the idea of the exhibition?
Natee: It's a mix of old and new works under the concept of exploring the kind of art that I used to do, the type of method that I like. I give importance to the knowledge I have accumulated since I first began studying art. I feel that it's an important part that dictated how my later works would come out. Like for The Memory Ship No.4, I remade a piece of work that I did 10 years ago with the knowledge I have gained from taking a new look at it again.
Wisut: It began by looking back at the beauty and significance of things close to me, with the belief that every single thing, humans, animals or objects, has its structure. On a basic level, there are theories that people have studied and used and are accepted by all. But in the end, the question of structure and proportion must be something that comes from your own understanding and you are able to create it in your own version.
What about the concept of structure in your work?
Natee: The study of human and animal anatomy is very important for artists. When you make a piece of artwork, you relate a truth, and people working in art need an understanding, both on the large scale and in detail. Proportions, features and functions are thought about in a basic way, and then in a much deeper way, going from step to step. The understanding that is reached allows us to see our surroundings and natural environment in a different way, and see the path to enlightenment, truth in our personal life and the different ways that other people experience reality.
Natee Tuntimthong.
Wisut:
The creation of a sculpture is the consequence of my observation of the beauty of the forms that surround me. They all have interesting internal structure which is often overlooked. Perhaps too much attention is given to external beauty with no consideration of its internal structure. I am more convinced that everything has its individual structure and it cannot be ignored that the internal structure is always essential to the remarkable beauty of the external form.What is the reason behind your choice of material?
Natee: If I could choose I would have done bronze or marble because both these materials have value within themselves. But plaster is also a very important material for the model version because it's easy to work with, you can add or fix it to the best result.
Wisut: Firstly, the objects used are just those I found around me and they all can be used as I believe everything has a structure of its own. Secondly, I chose metal for the structure because I wanted something that is strong and has its own unique quality. Through electric welding, each geometric shape was built up from the inside to complete form.
Can you talk about your work process?
I hardly sketch — I have fun just thinking, while sitting, walking and driving, and when I come up with something I usually don't forget. While thinking about the work, I usually imagine each step of the working process and what I want by the end and then begin to create the work as close to the plan as possible. Like for Cow Skull Study, I got the real skull and started pondering it. When I got the picture in my head of how I wanted it to be, I just started doing it.
Cow Skull Study by Natee.
Natee:
Wisut: In general, I would find the material or objects and begin by making 2D sketches before making them 3D. But sometimes, I would just ignore all those procedures and start working with the material right away. This kind of spontaneity keeps my brain fresh and it's actually very relaxing, both mentally and physically.
Can you talk about one another's work? How do you think it affects your own work or the exhibition as a whole?
Natee: I've seen Wisut's works for many years, but in his latest set, there's something different from what I've seen before. There's a lot of experimenting in this that creates new elements to his own working process. It's exciting and interesting for viewers who have seen his work before to see how he employed a lot more objects in his work and the installation is more special too. Most of Wisut's works are about structure, while mine is about mass and capacity, and this difference is what makes the exhibition not too chaotic.
Wisut: Personally, I think of his work in terms of the sense of peace, stillness, understanding and truth. This relates to my own work because the main concept of it is also about truth and understanding.
"Subcutaneous Infrastructure" is on display until May 22 at Bridge Art Space, Charoen Krung Road (opposite Wat Yannawa).
