Her: After quitting her career as a night walker, she makes everyday into weekends by being a playful household manager.
Me: After 13 years of my work as architectural, interior decoration photographer, I live with her and decorate our small, old flat with style.
Participating Artist: Soopakorn Srisakul
Curator: Dhanainun Dhanarachwattana
Dates: 22 September - 21 October 2018
All forms of visual representation rest on the delivery of two crucial pieces of information to the recipient: form and content. Of course, in most cases, form and content are so much intertwined that the separation between the two becomes impossible to determined, and in some cases, form is content and content is form. Such is usually the case as with graphic designs, where form is supposed to deliver the content, or at least the encapsulation of content, in the most economical fashion.
One of the main preoccupations of photography is with this peculiar nature of the medium itself; photography is the master of form and the content it carries within the confine of its premise. Photography is the master of describing forms pertaining to its visual nature, but in capturing the form you also capture the content of the thing depicted. Such quality is intrinsic to the medium and represents one of the major ambiguities ingrained to it. Usually, photographers resolve such contention by forgoing one for another. On the one hand you can get away with concentrating on form as strictly an endeavour in aesthetic experimentation, as is usually the case with the whole spectrum of art and architecture photography; on the other you mainly concentrate on the content itself, as one would do with a family snapshot or documentary photography.
Soopakorn just so happens to be both architectural and documentary photographer. In his professional life he serves as a staff photographer for an architecture magazine, while in his private sphere he spends his time documenting the little-known facets of a hidden world. A stark contrast not only presents itself in his photographic endeavour, but also recommends itself throughout the pages of his common history.
Weekend Stage is a rumination into this inherent contradictions of the photographer; between his private interest and professional incumbent; between being a staff photographer whose emphasis is on the forms, and the documentarian whose message lies in the content; between being one whose interests is in the outside world, and one in which whose private sphere demands an utmost attention from himself; between inheriting a social sphere where efficiency is an essence, and frequenting the one whose essence is the antithesis of efficiency.
Weekend Stage encapsulates these contradictions, while at times seamlessly integrating these sphere of existences into a combined whole. At times, you are not quite sure if the boundary between the frame exists in reality or if it only exists through his placement of the frames themselves at all. Being uncertain of their separation, we are left to only contend with their wholesome discord by what we know to be realistic of the document alone.
Which is what the photographer himself admitted to not being able to resolve while having to contend their simultaneous co-dependency with as well.
Soopakorn Srisakul — Artist Bio
Graduated from Chulalongkorn University in Architecture and works as a staff architectural photographer for House & Garden Magazine, Soopakorn also has his works featured in Dwell Asia, Domus, and Habitat Living. In his own time, his mainly focuses upon documenting his surroundings and the lives of their inhabitants.
2012: Photographer, Temporary Storage#1 Group Show at BACC, Bangkok
2013: Attending a workshop with Françoise Huguier in La Fête Festival, Bangkok
Photographer, Inhabitation Group Show at Speedy Grandma Gallery, Bangkok
2015: Photographer, Ms.Match Solo Show at Soy Sauce Factory, Bangkok
2016: Photographer, Recorder Group Show at RMA Institute
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