Ritual and remembrance
By Ian Tee

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Thai artist Saroot Supasuthivech here.

Film photographs from Photoautomat of Saroot Supasuthivech, Künstlerhaus Bethanien, Berlin, Germany, 2023. Photo by the artist.

In 2015, you graduated from Silpakorn University, Bangkok, with a Bachelors of Fine Arts specialising in mix-media arts. Can you describe your experience?

When I was at Silpakorn, the mix-media arts department was newly established, so there was a relatively small number of students. In fact, there were only four students in my cohort. The environment was close-knit and it facilitated in-depth discussions and collaborations. I also had the chance to get into various artistic mediums and techniques, including video installation and working with found footage, which has shaped my current direction.

Saroot Supasuthivech, ‘SECURITY GUARD’, 2017, installation view in ‘EARLY YEARS PROJECT #2’, Bangkok Art & Culture Centre, Bangkok, Thailand. Image courtesy of the artist.

Who has been a mentor or an important artistic influence? And why?

I have been fortunate to have influential mentors during my studies and the early stages of my career. Artist Wantanee Siripattananuntakul offered me guidance during my final year at Silpakorn University, as did curator and cultural worker Penwadee Nophaket Manont and Baan Noorg Collaborative Arts & Culture while I was doing freelance work. I was introduced to artist Nipan Oranniwesna when I participated in ‘Early Years Project #2’ (2017) at the Bangkok Art & Culture Centre. He helped me shape my work ‘SECURITY GUARD’ (2017). Many people have been important in my journey, in both my life and my art, and there are too many to list here.

What was one important piece of advice you were given?

The simplest yet profound piece of advice was given to me by my father, who told me to “be patient”.

Do you make a living completely off being an artist? If not, could you share what other types of work you take on (freelance or otherwise) to supplement your income? Do these activities also inform/ affect your practice?

I am currently striving to sustain myself as a full-time artist. Nova Contemporary started representing me at the beginning of 2022, and I am lucky to have that support in my artistic journey. Occasionally, I do freelance work in video production, which allows me to interact with more people within the creative industries.

Saroot Supasuthivech, ‘If I can make one wish…’, 2023, installation view at Nova Contemporary, Bangkok, Thailand. Image courtesy of the artist and Nova Contemporary.

You had your first solo exhibition ‘If I can make one wish…’ (2023) at Nova Contemporary. How did the opportunity for this show come about? Can you talk about the process behind putting it together, what was a major difficulty you faced and how did you overcome it?

The video work in the show ‘River Kwai: This Memorial Service was Held in the Memory of the Deceased’ was originally presented with Nova Contemporary at Art Basel Hong Kong 2022. After showing the work in a booth, we decided to develop it further and to exhibit it in its entirety in a larger gallery space.

I took a different path with this series. I usually start by working with oral history and interviews, but I chose to employ a direct ethnographic exploration and data collection instead. I was able to engage directly with my research area and its history, and this first-hand approach allowed me to infuse more of my personal emotions into the works, which was a big development for me.

I worked closely with the gallery team for this show, and we spent a lot of time on the planning and curation. While the video was made in two-channels, we displayed it across four differently sized screens. We also included a resin sculpture that replicates a flower seen in the video, and a set of bleachers similar to the stadium seating that a part of the video is set in. It was challenging to strike a balance between the conceptual depth of my work and its accessibility, but I think we were able to overcome that by creating such an immersive environment with the works.

Saroot Supasuthivech’s studio at Künstlerhaus Bethanien, Berlin, Germany, 2023. Photo by the artist.

Saroot Supasuthivech filming in Bad Homburg, Germany, 2023. Photo by the artist. Image courtesy the artist.

Most recently, you completed a three-month residency at Künstlerhaus Bethanien (Germany) as part of NTU CCA Singapore’s SEA AiR programme. What were your aims with this residency? And can you talk about what you got out of the experience?

The residency in Berlin was a transformative experience for me. Beyond improving my artistic skills, it gave me the time and space to better understand myself. Immersed in a new cultural context with a language barrier, I had to step out of my comfort zone and put myself out there. There was much experimentation and collaboration happening in those few months. It was also interesting to explore the intersection of my Thai identity with global themes, and the residency helped me find a fresh lens to examine my practice and the projects I have been planning.

Ritual is a recurring theme in your work. What is its significance to you?

Ritual holds a profound cultural and personal significance in my work. It helps me understand how people and communities connect, and how we are rooted to one another and the contexts we belong to. I look into ceremonies, beliefs, and spirituality to uncover layers of history and identity. In my videos, rituals transform into powerful stories, acting like a bridge between the past and present. Ritual is personal but also universal, and it allows me to find shared threads.

Could you share your favourite art space or gallery in Bangkok/ Thailand? Why are you drawn to that space and what does it offer to you/ your practice?

There is a vibrant art scene in Bangkok with many amazing galleries, making it challenging to choose just one! I am especially fascinated by the rise of alternative galleries not only in Bangkok but all over the country. I am intrigued by artistic expression and diversity found beyond the capital. Artist-run spaces, collaborative groups and small alternative galleries catch my attention, each with its unique identity, history, and narratives that tell captivating stories based on their specific locations.

What are your hopes for your own local art scene, and regionally as well?

I hope that the Thai art scene can continue to grow and become more inclusive. I aspire to see more platforms supporting a wider range of voices. Regionally, I envision stronger collaborations, exchanges, and a deeper appreciation for the richness of Southeast Asian art and culture.

“Ritual holds a profound cultural and personal significance in my work. It helps me understand how people and communities connect, and how we are rooted to one another and the contexts we belong to. I look into ceremonies, beliefs, and spirituality to uncover layers of history and identity. In my videos, rituals transform into powerful stories, acting like a bridge between the past and present. Ritual is personal but also universal, and it allows me to find shared threads.”

Saroot Supasuthivech, ‘Spirit-forward in G Major’, 2023, VR still. Image courtesy of the artist.

Are there any upcoming exhibitions/projects that you would like to share?

I am currently part of ‘Passages’ at NTU Centre for Contemporary Art Singapore, where I am showing a new work developed during my time in Berlin. I will also be showing some works from my ‘River Kwai’ series with Nova Contemporary at S.E.A. Focus 2024 in Singapore.

Read other Fresh Faces interviews here.

‘Passages’ is on view at NTU Centre for Contemporary Art, Singapore, from 28 November 2023 to 28 January 2024.