Pinaree Sanpitak

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“Printmaking is like cooking – you never know what’s going to come out.” – Pinaree Sanpitak

Born in 1961, Bangkok, Pinaree Sanpitak is one of the most established Thai conceptual artists of her generation. Her artistic practice revolves around the human body and form as a vessel of experience and perception. A recurring motif in her work, the female breast is distilled into its basic form of vessel and mound, resembling the Buddhist stupa (shrine) and offering bowl on occasion. Her sensorial inquiries also reveal a keen sensitivity towards a range of materials such as textiles, glass, ceramic and metal, informing her various approaches in collage, drawing, painting, printmaking, and sculpture. This results in an astoundingly varied and innovative body of work.

Over the past thirty years, Sanpitak’s work has been featured in numerous museums and major biennales across Asia, Europe and the United States. In 2021, the artist launched her monograph, Pinaree Sanpitak 1985 – 2020, which was part of the fifth public programme of her exhibition House Calls at 100 Tonson Foundation, Thailand (2020–2021). With STPI, Sanpitak presented a solo show, Fragmented Bodies: The Personal and the Public (2019) following her residency in Singapore. In the same year, she also presented a site-specific installation titled The Black and the Red House for Setouchi Triennale 2019. The artist also partakes in community collaborative projects, such as Breast Stupa Tiopary and Breast Stupa Cookery at the Jim Thompson Farm in Thailand (2018). A large-scale hanging fabric installation The Roof, commissioned by Arts Brookfield, was on view at the Brookfield Place Winter Garden in Battery Park City in New York (2017). An overview of her work from 1995-2013 was showcased in a solo exhibition, Collection +: Pinaree Sanpitak, at the Sherman Contemporary Art Foundation in Sydney, Australia (2014). The artist presented Hanging by a Thread at the Los Angeles County Museum of Art (2013), a solo exhibition featuring her large-scale installation of the same title, which was subsequently acquired by said institution. Another large-scale installation, Temporary Insanity, was exhibited at the Chrysler Museum in Norfolk, Virginia (2012) and subsequently at The Contemporary Austin in Austin, Texas (2013).

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