QUIETLY FLOATING PINAREE SANPITAK

QUIETLY FLOATING PINAREE SANPITAK Pinaree Sanpitak is one of the most compelling and respected Thai artists of her generation, and her work can be counted among the most powerful explorations of women’s experience in all of Southeast Asia. For well over twenty years, her primary inspiration has been the female body, distilled to its most basic forms and imbued with an ethereal spirituality. The quiet, Zen-like abstraction of her work owes something to her training in Japan and sets it somewhat apart from the colorful intensity of much Thai art. Her rigorous focus on the female form, explored through a variety of media – painting, drawing, sculpture, textiles, ceramics, performance, and culinary arts, to name but a few – has resulted in an astoundingly varied and innovative body of work.

For many years, and certainly since the birth of her son in 1993, a central focus of her work has been the female breast, which she relates to imagery of the natural world and to the iconic forms of the Buddhist stupa (shrine) and offering bowl. Often called a feminist or Buddhist artist, she resists such easy categorizations, preferring to let her work speak to each viewer directly, to the heart and soul, with the most basic language of form, color, and texture. Her work is not lacking in a conceptual framework, but it is one informed primarily by a deeply felt spiritual sense rather than by rigid dogmas or ideological constructs.

Sanpitak’s work has been featured in numerous museum exhibitions in Asia and Europe during the FOREWORD past twenty years, and she has participated in major biennials in Australia, Italy, Japan, and Korea. But although her work is much admired by art specialists in the United States, there has until now been little TYLER ROLLINS opportunity for the public, especially in New York, to see her work first hand. So it is with great pleasure that Tyler Rollins Fine Art presents her first New York solo exhibition.

Quietly Floating features a series of large, monochromatic paintings of breast and cloud forms. Some are done in a soft, metallic silver, with delicate, textured highlights, while others are infused with vibrant colors that reflect the natural light of California, where they were painted. These breast/cloud forms also appear in a remarkable group of intimate works on Japanese paper, and in an installation of large, aluminum mirrors, cast at her foundry on the outskirts of Bangkok. As the exhibition title suggests, the works convey a sense of tranquility and weightlessness that is at once otherworldly and profoundly natural. Through basic imagery of the female form, they convey a powerful sense of humanity, of the quiet truth of its physical and spiritual interconnectedness. They are quietly present, floating, observing, living and hoping. And having a bit of humor, whichI consider to be essential for one’s wellbeing, or at least my own.

The paintings and paper works are a continuation of a series of paintings I started in Bangkok in 2006- 2007 titled Breasts and Clouds. These eight paintings were done during my artist-residency at Montalvo Arts Center, near San Francisco and finished in Santa Monica, California, between April-July, 2008.

The secluded site of the residency and definitely the extraordinary light of California made a great impact on the canvases, compared with the first series. I wanted to continue my momentum in painting and pre- ordered the stretchers so that they were ready by the time I arrived at Montalvo.

Each studio/living quarter is specially designed to accommodate various practices. I was allocated the painting studio on the top of the hill. During weekdays, the fellows all gathered for dinners at the commons building down the hill, which were prepared by the culinary fellow, Jessie (Benthien) Washburn. I was able to convince Jessie to collaborate with Breast Stupa Cookery, and we all shared a lovely meal for my last dinner there.

The form of “clouds” came about in a hot studio in the summer months of Bangkok in 2006. Later, a QUIETLY FLOATING (QUIETLY FUNNY) friend told me that there’s a word in Pali/Sanskrit called Pa-yo-ta-ra, which means beholder of water and beholder of milk. True to their nature, they are both givers and receivers. Sensitive and unpredictable. PINAREE SANPITAK Ever-changing.

I work between two and three dimensions and with a wide range of materials. It creates a dialogue and challenge between me and the works and between the works themselves. I enjoy the collaboration and interactions of my works as much as my solitude when working quietly by myself in the studio.

The Mirror reflects and absorbs while theBreast Stupa Cookery molds reveal and offer.

The breast forms are still evolving. They are personal but sharing an open view.

They are about attitudes. They are about life. They are about perspectives. They are about the senses. Pinaree Sanpitak is one of the most prolific artists working in Southeast Asia today and has been a powerful voice in Thai art since the 1980s. Demonstrating from the outset an intentionally feminine sensibility in her artistic practice, Sanpitak has injected Thailand’s burgeoning contemporary art scene with a strong female presence. Mining a language of forms that is emphatically personal and yet simultaneously universal, Sanpitak productively draws on the artistic traditions of East and West to continually push her work beyond such limiting binaries. In addition to her influence as an artist, she helped expand exhibition opportunities for other regional artists by co-founding and running the alternative Silom Art Space in Bangkok from 1991 to 1995.

Sanpitak has worked with a signature repertoire of symbols referencing the female body—breasts, eggs, vessels, curving silhouettes—since she came to prominence in the late 1980s. Yet one of the most distinctive characteristics of Sanpitak’s art is its diversity. Constantly exploring a broad range of artistic approaches, from traditional paintings to interactive installations, from craft to culinary interpolations, from textile manipulation to glass sculpture, she continually impresses with the creativity and technical mastery she brings to bear on her subject matter. More importantly, each of these excursions into a new mode of production has invoked a different conceptual frame, deepening the significance of her overall project, which ultimately reveals itself as a meditation on the multiplicity and malleability of these female forms and their meaning. PINAREE SANPITAK: QUIETLY FLOATING While many writers have focused on the birth of Sanpitak’s son in 1993 as the formative moment for MAURA REILLY AND SAISHA GRAYSON her artistic vocabulary, the artist’s maternal iconography was evident earlier in her career. Works from the late 1980s and early 1990s demonstrate her conscious invocation of the female body, fertility and the assertion of personal identity within those universalizing concepts. In a 1991 mixed media collage on plywood, color blocks surround a central photograph of four squash, overexposed to become white silhouettes against a busy background (Fig. 1). Entitled Self, the work cheekily plays with the tension between individuality and group identity, as the singular term of the title invites a one-to-one alignment between a fruit and the artist, while the formal similarities between the four squash suggests a more universalized reading of female selfhood. Expanding this iconography in The Squash & I (1991-2), Sanpitak installed a cluster of papier-mâché squash on the gallery floor below a series of works on paper. These earth-toned compositions vacillate between literal and abstracted representations of the female torso and the squash. In one drawing, the emphasis is placed on the pear-like shape of wide hips curving in to an exaggeratedly tiny waist. In others, the fruit shape is positioned as a floating womb or shrunk to serve breasts, though these are often deformed or attenuated. Reminiscent of the dressmaker’s headless as the tiny belly button. Suddenly, seen next to these more evocative abstractions, a traditional still- manikin, these upright, life-size figures occupy the room with a bodily presence that is distinct from life of a squash positioned on a table takes on anthropomorphic overtones. This probing of the female the earlier, smaller, floor-bound sculptural groups. This shift in scale is taken further in the 1998 body as a metaphor of fruitfulness and abundance, and also an autobiographical exploration of the self, installation, Womanly Bodies, composed of twenty-five towering constructions of saa fibre, rattan, jute continues throughout her oeuvre. and bamboo that almost touch the gallery ceiling. Within these roughly geometric, spiraling cubed structures, however, one can recognize the convexly curved sides that Sanpitak used in her drawings Her next series of works, produced between 1994 and 1996, demonstrates her continued interest in from 1991-2 to indicate the female silhouette. organic and natural forms, with a more pronounced concentration on the female breast. Sanpitak had just given birth to her first child and was fascinated by the power of the breast-feeding mother, who Noon-Nom (2001-2) (Fig. 6), one of the artist’s most important large-scale installations, returns attention is both “giving and receiving.” In the exhibition Breast Works I from this period, the single silhouetted to the isolated breast, but keeps the holistic body in play by inviting the audience to lay upon these mounds are isolated, pert and pointed skyward. Seen this way, as in Pink Breast (1994) (Fig. 2), one is furniture-sized pillows modeled after female anatomy. “Nom” can literally translate as either breast struck by the relationship between the female body and the sacred Buddhist architectural tradition of the milk, which emphasizes each term’s nurturing function. As such, the work’s title and form both playfully stupa. The installation Breast Works/Untitled (1994) (Fig. 3) from the same exhibition makes this analogy evoke our earliest instinct of nestling into the soft, fleshiness of the mother’s chest in search of warmth clearer, as a hundred miniature, domed sculptures made out of saa paper dot the floor like architectural and sustenance. The full installation comprises two hundred, hand-sewn, black, white, beige and pink models. These mark the beginning of an ongoing and productive dialogue between Sanpitak’s chosen cushions packed into a one hundred square meter room, creating a comfortable lounge-like scene into forms and Buddhist philosophical and cultural references. She subsequently foregrounds the way that which viewers can meander, sit, recline, and interact. This sea of breast-cushions relays ideas of bounty breasts and wombs mirror not only the shape, but the deeper metaphoric meanings of the stupa and the and comfort, and brings to mind stuffed toys, suggesting the innocence of child’s play. In the similarly alms bowl. In doing so, she reminds us that they can all be regarded as vessels of life-giving force and as configured installation, Temporary Insanity (2003-4) (Fig. 7), Sanpitak pushed the joyful celebration of containers of potent emptiness, a prized theological concept in Buddhism. As critic Mary-Ann Milford- female form further by having the brightly-colored, soft sculptures imbedded with timers and sensor Lutzker commented in relation to Sanpitak’s work, “The solid stupa, the ultimate Buddhist reliquary… devices, which were triggered into movement and sound by the spectators themselves. By producing encloses and protects all within itself. When inverted it becomes the Buddha’s offering bowel, it is open jumping, sound-producing breast-cushions Sanpitak has explained that she was attempting to expand to receive all who would seek peace… The bowl and the stupa are the ultimate expressions of the void.” our perception of a strong female bodily symbol and alter our attitudes through the senses of sight, Later pieces from the Breast Works II series (1995-96) distort the basic feminine shape—elongated sound and touch. mammaries becoming simultaneously phallic in The Black and the White (1995) and nipples sprouting tails like semen in Crosses and Breasts (1995) (Fig. 4)—to produce ambiguous, hermaphroditic images In 2005, when she began her Breast Stupa Cookery series, she aroused another sense—that of taste. of fertility and sexual signification. In this ongoing, collaborative art project, Sanpitak works with professional and amateur chefs to create meals using specially designed breast stupa-shaped cooking molds made in cast aluminum and glazed From 1996 to 1999, Sanpitak’s recurring iconographic element was the female torso and, as in the stoneware. The artist and her collaborator-chefs have hosted many of these events, presenting their Squash and I, the body is presented in gradations of abstraction. In Confident Bodies (1996-97) (Fig. 5), five-course nourishing nipple-meals to audiences in Thailand, Japan, China, Spain, France, andthe the artist broadens her focus from isolated body parts to invoke the standing human body. One hundred USA. Breast Sand Jedis (2005), which brought together professional ceramicists and children from and twenty vertical steel rods rise to hip-height, atop of which sprout sculpted saa paper female torsos, marginalized communities in Spain, invoked the sense of smell. The children modeled their own vessels replete with of identity,

Fig. 1 Self Fig. 2 Pink Breast Fig. 3 Breast Works / Untitled Fig. 4 Crosses and Breasts which were then fired, glazed and filled with scented objects of their choosing. Sanpitak’s most recent color blocks found in Womanly Heaven, Vessel in Blue and the leafing of Silver Offering II, producing collaboration with master glass blowers from Murano, Italy, is closely tied to the current exhibition. an undulating wave of varying intensities of hue in Brilliant Blue (2009) and Cloud Track (2009). These Together, they translated the breast cloud morphology into translucent colored glass sculptures for paintings also seem to lighten the metaphoric load not only from the proffered symbolism of Noon-Nom the series Quietly Solid (2010) (Fig. 8). These interactive, collaborative projects and large-scale gallery or Breast Stupa Cookery, but also from the more literal titles of her earlier paintings. Both visually and installations partake in a lexicon of global contemporary art marked by the post-medium, conceptual, linguistically, connections to Buddhism or femaleness are left unstated and up to interpretation. Instead, biennial framework, moving effortlessly from the kind of (ominous) bodily presence emphasized by the canvases and their titles redirect the viewer towards a contemplation of shape, color, texture and minimalist and monumental sculpture to the kind of warm interactivity and communal togetherness an appreciation of the application of paint to canvas and compositional balance. Their Zen tranquility is valued in relational works by her fellow countryman, Rikrit Tiravinijia. produced by enveloping the viewer within their subtle surfaces rather than by referring them to Buddhist iconography or traditionally Thai materials. Alongside these assertively of-the-moment contemporary installations and her projects with a pointedly Thai referent, Sanpitak also has a trajectory of two dimensional works on canvas that engage with the Likewise, the mirrored sculpture—developing out of bodily-scaled, three-dimensional vessels begun in more formalistic, painterly tradition of Western high art and Modernism. Building on the gestural, 2002—is a more abstract, less literal translation of one of her primary subjects. No longer the empty symbolically-laden works of Breast Works I & II, future canvases have focused on pairing down the figural alms bowl or inverted breast, the base of this container is flattened into a shallow basin. The reflective elements, whether to cartoon-like shapes or abstract anthropomorphic forms, and pushing color and bottom, though, creates an imaginary depth that allows the viewer to contemplate a Narcissus-like texture as dynamic elements. Only the title and Sanpitak’s past works require a maternal interpretation double when standing before or above it. This shiny surface is filled by reflections of the world rather of Womanly Heaven from 1999; this ovoid could be an egg, a womb, fruit or female body, but it is also than the symbolic void. The drawings in the exhibition are intimate and delicate counterpoints to the vague and not necessarily representational. Vessel in Blue (2001) (Fig. 9), Silver Offering II, (2003) and paintings, demonstrating the same reinterpretation of her career-long interest in female iconography but Over the Blue (2006-7) more clearly depict “an object” that is their subject, but the bodily referent is no through a more abstract lens. Clouds and breast forms float in gravity-free, cream-colored landscapes; longer clear. The vessel has become the literal outline of a bowl, the offering a silver collage of leaves the repetition of sprouting roots, plants and leaves, which speak to life-giving or generative forces, that form an apple, a tear-drop, a breast, a candle. Each invites a purely aesthetic appreciation of tonal suggests a reemergence of botanical analogies within the artist’s vocabulary. quality, brushwork and the balance of vibrant blue and opalescent peach, or silver against grey. Quietly Floating’s successful deployment of the formal language of abstraction, as yet another way to It is from this body of work that the large-scale canvases in the exhibition Quietly Floating emerge. In draw out the potentiality of her organic imagery, leads to a deeper appreciation of Sanpitak as an artistic these eight paintings, the artist extends her painterly turn in response to the space, light and quiet chameleon. This overview has touched briefly on only a few of the many concatenation these shapes seclusion she experienced during a recent residency in California. Set as clouds against a wide-open have taken in Sanpitak’s work. Embracing the conceptual, material and aesthetic considerations of a sky, the formal potential of her chosen subjects is again highlighted. One sees how they can morph, multiplicity of practices, she uses her chosen forms as the fulcrum for an otherwise heterogeneous body become abstract, vague, and hybrid; how breasts become pods, wombs become clouds, and clouds of work. The shapes lend cohesion to her project without ever limiting her horizons, as they are always sprout pod-shaped leaves. These works stand out, however, for their rigorous reduction. Gone are dark ripe nourishing power, artistically, and continue to bear fruit in Sanpitak’s exploration. In particular, outlines and sharp color contrasts; instead the works are almost monochromatic, with white the primary this constant return to the same pool of symbolic forms allows Sanpitak to consider all the ways in vehicle used to distinguish the figure and produce textural variation. This texture, too, is smoother that which they are invested with meaning. These “essential” female tropes can be culturally specific and the collage-like universal,

Fig. 5 Confident Bodies Fig. 6 Noon-Nom Fig. 7 Temporary Insanity Fig. 8 Quietly Solid grandiose and playful, uplifting and introspective, spiritually potent and devotedly materialist. By fixing Maura Reilly, PhD, is Senior Curator of Exhibitions at the American Federation of Arts. Prior to the AFA, she was the founding curator of the Center for Feminist Art at the Brooklyn Museum, where she organized several exhibitions, including one set of terms, she demonstrates their flexibility and the ways in which artistic intervention and the critically acclaimed Global Feminisms, co-curated with Linda Nochlin. Her recent curatorial projects include La Mirada practice shape meaning and viewer experience. Iracunda (The Furious Gaze), Nayland Blake: Behavior, Carolee Schneemann: Painting, What It Became, Richard Bell: I Am Not Sorry, and Ghada Amer: Happily Ever After.

The freedom found within this limited repertoire of forms leads her to produce an endlessly variable Saisha Grayson is a PhD candidate in contemporary art and feminist theory at The Graduate Center, CUNY, and writes dialogue between her work and her audience, between her cultural referents and theirs, between her frequently on issues of the body in art. She also works as a freelance curator, presenting emerging artists at alternative spaces throughout New York. personal artistic project and a shared exploration of selfhood. A Western viewer familiar with feminist art from the second half of the 20th century can see relations between Sanpitak and the core imagery espoused by Miriam Shapiro and Judy Chicago, the organic forms of Mira Schor; Rona Pondick’s NOTES 1 “Femininity on a Plate.” Bangkok Post. March 4, 2009. http://www.trfineart.com/pdfs/reviews/0000/0089/Bangkok_Post_article.pdf installation of breast-like pods, their precursor in Louise Bourgeois’s repetition of detached breast 2 Mary-Ann Milford-Lutzker, “Breast and Bowls: Metaphor and Meaning in the Art of Pinaree Sanpitak,” Temporary Insanity (James H.W. protrusions; and Eva Hesse’s eccentric abstraction and post-minimalist repetition of organic forms. A Thompson Foundation, 2004), 34. viewer looking to connect the work to Sanpitak’s Thai heritage will be more likely to note its relationship to 3 Milford-Lutzker, 34. the Buddhist iconography of the mound and vessel, as discussed, or the traditional privileging of fertility LIST OF ILLUSTRATIONS as a source of ritual and even magical power for pre-colonial Southeast Asian women or other artists 1. Self, 1991 of her generation who have used the metaphor of the bowl, such as Montien Boonma. The most recent photograph, collage, mixed medium on paper and plywood 63 x 63 in. (160 x 160 cm) generation of contemporary art audiences might recognize practices that have emerged as central in collection Queensland Art Gallery, Brisbane, Australia the last few decades—interactive installations, site-specific and responsive projects, collaborations with 2. Pink Breast, 1994 performance groups and local communities; processes which rely in some way on others to complete the acrylic, pastel on paper 41.5 x 42 in. (105.5 x 106.5 cm) piece. Against this backdrop, the simplicity and clarity of these new large-scale paintings is all the more private collection striking. Who would have initially thought to compare Sanpitak to Mark Rothko or Georgia O’Keeffe? And 3. Breast Works/Untitled, 1994 yet this is the other artistic language she is adapting to her project in the current work, one that deploys 100 saa paper mulberry fiber sculptures the affect of color and the abstraction of forms to an aesthetic, emotive and intellectual end. 17 monoprints on paper, size variable

4. Crosses and Breasts,1995 What is most important to recognize, however, is that these affinities come from the various artists acrylic, tumeric, pastel, collage on canvas 79 x 79 in. (200 x 200 cm) responding to the same inspiration, the same desire on the part of each individual to explore that which is closest to them: their bodies, their cultural conditions, their environment. Rather than thinking of 5. Confident Bodies,1996-97 saa fiber and steel, 120 pieces overlapping tendencies as lines of influence, it is more productive to see them as cross-cultural and height 47-71 in. (120-180 cm) contingent reactions to those things shared amongst the various groupings. The sensitivity Sanpitak collection Misiem Yip-intsoi Sculpture Garden shows to her specific socio-cultural moment is what makes her unique, as her work accurately reflects 6. Noon-Nom, 2001-2002 organza, synthetic fiber, 200 pieces the complexity of the world in which she seeks to understand herself. Refusing to produce a totalizing, installation: 1000 square feet (93 square meters) coherent self or stylistically static body of work, she celebrates the multiplicity of forms from which we Bangkok University Art Gallery photo courtesy of Art-U Room, Tokyo can construct meaning. 7. Temporary Insanity, 2003-2004 silk, synthetic fiber, battery, motor, propeller, sound device overall size variable site: Nuit Blanche Brussels 2008, Hôtel de Ville, La Grande Place

8. Quietly Solid, 2008-2010 hand blown Murano glass by master Silvano Signoretto from a series of 10 unique pieces, approximate length 12 1/2½in. (31.5 cm)

9. Vessel in Blue, 2001 acrylic, charcoal on canvas 63 x 87 in. (160 x 220.5 cm) private collection Fig. 9 Vessel in Blue quietly floating quietly funny

2008 acrylic on canvas 78 x 98 1/2 IN. (198 x 250 cm) cloud track

2008 acrylic on canvas 78 x 98 1/2 IN. (198 x 250 cm) Cloud sprout

2008 acrylic on linen 78 x 78 IN. (198 x 198 cm) cloud garden

2008 acrylic on canvas 78 x 98 1/2 IN. (198 x 250 cm) cloud mist

2008 acrylic on canvas 69 x 75 IN. (175 x 190.5 cm) brilliant blue

2008 acrylic on canvas 78 x 98 1/2 IN. (198 x 250 cm) vermillion sky

2008 acrylic on canvas 69 x 75 IN. (175 x 190.5 cm) dark and sweet

2008 acrylic on linen 78 x 78 IN. (198 x 198 cm) the mirror 2009 aluminum and mirrored glass Edition of 6 + 2 AP 29 1/2 x 76 1/2 x 7 IN. (75 x 195 x 17.5 cm) quietly floating: BREAST CLOUDS 9 quietly floating: vessel 3 quietly floating: BLUE 3 quietly floating: blue 1

2008- 2009 2008- 2009 acrylic on shikishi paper acrylic on shikishi paper 9 1/2 x 10 3/4 IN. (24 x 27 cm) 9 1/2 x 10 3/4 IN. (24 x 27 cm) EDUCATION 1999 Womanly Abstract, About Studio/About Cafe, 1986 Bangkok, Thailand. B.F.A in Visual Arts and Communication Design, School of Fine Arts and Design, University of 1997 Tsukuba, Ibaraki, Japan. Eggs, Breasts, Bodies, I, Etcetera, The Art Center, Centers of Academic Resources, Chulalongkorn SOLO EXHIBITIONS University. 2009 1994 Breasts, Clouds and Vessels, Galerie Alain le Breast Works, Silom Art Space, Bangkok, Gaillard, Paris, France. Thailand. 2007 1993 Breasts and Clouds, 100 Tonson Gallery, Bangkok, Mother & Child: A Dialogue, Silom Art Space, Thailand. Bangkok, Thailand. 2005 1991 Jedis Vessels and Cooking, The Borderline Event The Cross The Egg The Cow & The Squash, Silom - The Castle; Breast Stupa Cookery collaborations Art Space, Bangkok, Thailand. with local patisseries and Aula Gastronomica de l’Emporda, La Bisbal d’Emporda, Girona, Spain. 1988 Pinaree Sanpitak: an Exhibition of Photographs, 2004 Paintings, and Collages, Central Plaza Hotel, Temporary Insanity, The Art Center at Jim Bangkok, Thailand. Thompson House, Bangkok, Thailand. 1987 And Everything In Between, Art U – Room, Tokyo, An Exhibition of Photographs and Collages by Japan. Pinaree Sanpitak, Books & Beer, Bangkok, Thailand. 2003 Breasts and Vessels and Mounds, Jendela Gallery, GROUP EXHIBITIONS The Esplanade, Singapore. 2009 Metamorphosis, Gallery Art U, Osaka, Japan. Emotional Drawings, SOMA Museum of Art, Seoul, Korea. Noon-Nom, Discovery Center, Bangkok, Thailand. Breast Stupa Cookery with Bo.Lan Restaurant, Noon-Nom & Vessels, Babilonia 1808, Berkeley, Bangkok, Thailand-March 26-27-28, 2009. CA. 2009 Incheon Women Artists’ Biennale, Incheon 2002 Art Platform, Incheon, Korea. Offering Vessels, Salina Art Center, Salina, KS. Virtues of the Kingdom, Bangkok Art and Culture Breast and Beyond, Bangkok University Art Center, Bangkok,Thailand. Gallery, Chulalongkorn University Art Gallery, Open Arts Space, Bangkok, Thailand. 2008 From Surface to Origin, Gallery Soul Flower, Growth & Void, Atelier Frank & Lee, Singapore. Bangkok, Thailand. 2001 Ethics of Encounters, Gallery Soul Flower, Vessels and Mounds, The National Gallery, Bangkok, Thailand. Bangkok, Thailand. Emotional Drawings, Museum of Modern Art “Shibui” - Breast Stupas, Seinan Gakuin University Tokyo, Museum of Modern Art Kyoto, Japan. Library,Fukuoka,Japan (on view annually). “Expenditure” Busan Biennale 2008, Museum of 2000 Modern Art Busan, South Korea. Womanly Bodies – Prints, Art2, Substation, Singapore. Traces of Siamese Smile: Art+Faith+Politics+Love, Bangkok Art and Culture Center, Bangkok, Continued – Compelled – Comforted, Atelier Frank Thailand. & Lee, Singapore. Breast Stupa Cookery with Higashiya and Le Bain, pinAREE sAnpitAK Womanly Bodies in Print, Numthong Gallery, Le Bain, Tokyo, Japan. selected biography Bangkok, Thailand. 2006 The 2nd Women’s Art Festival, East Asian Women Doris Hinzen-Roehrig, Pinaree Sanpitak, Judy RESIDENCIES Artery, The Gallery and Concourse, Singapore and Herstories, Women’s History Exhibition Hall, Watson: Paintings, The National Gallery, Chao Fa Management University, Singapore. Seoul Women’s Community Center, Seoul, South Rd., Bangkok, Thailand. 2009 Korea. Lenzi-Morisot Foundation, Chateau de la Roche Breast Stupa Cookery / Artery Exhibition Huay Khwang Maga-City Project, Demolition site, Jacquelin, Daumeray, France. Opening, SMU Singapore Management University, Rachadaphisek Rd., Bangkok, Thailand. 2001 Singapore. 2008 A Shriek from an Invisible Box, The Meguro 1995 Lucas Artists Programs, Montalvo Arts Center, Tout â Fait Thaï : Thai Art Festival Paris 2006, Museum, Tokyo, Japan. Kradaad : Contemporary Thai Works on Paper, Saratoga, CA. Mairie du 6e, St. Sulpice, Paris, France. AsiaArt 2001/Labyrinths - Asian Contemporary Art Texas Tech University, Department of Art, Texas, USA Touring Exhibition. 2003 Breast Stupa Cookery / Soi Project / Thai Art – Biennale d’Arte Contemporanea, Contempoary e Pacific Bridge Residency Program, Oakland, CA. Festival Paris, Mairie du 6 , St. Sulpice and Art Museum of Genoa, Italy. Weather Report, A touring group project initiated Restuarant Le Trois, Paris, France. by RienkeEnghardt. 2001 2000 Little More Sweet Not Too Sour, 100 Tonson Headlands Center for the Arts, Sausalito, CA. Glocal Scents of Thailand, Edsvik Konst & Kultur, 1994 Gallery, Bangkok, Thailand. Solentuna, Sweden. Herstories, Dialogue Gallery, Bangkok, Thailand. 2000 Pink Bras Alert! / Breast Stupa Cookery, Charity AFAA: Association Francaise d ’Action Artistique, Euro Visions, Art Gallery of the Faculty of Painting, in an A-B-C Cup - Fund raising campaign for The 1993 Artist-in-Residence at Cité Internationale des Sculpture and Graphic Arts,Silpakorn University, Queen’s Sirikit Centre for Breast Cancer, Bangkok, Confess and Conceal, 11 Insights from Arts, Paris, France. Bangkok, Thailand. Contemporary Australia and Southeast Asia, Thailand, The Sukhothai Hotel Ballroom, AGWA Art Gallery of Western Australia, Perth and IASPIS: International Artists’ Studio Program in Bangkok, Thailand. Les Semiophores, Collaboration project on the toured in Southeast Asia. Sweden, Stockholm, Sweden. facade of The Town Hall, Lyon, France, 7 - 10, 2005 December, 2000. A proposal by Philippe Moullion Shutter Talk, Dialogue Gallery, Bangkok, 1999 Thai Festival, Auditorium Parco Della Musica, of Laboratoire, Grenoble, France. Thailand. Printmaking Workshop - Northern Editions, Rome, Italy. Northern Territory University (NTU), Darwin, 1999 1992 Australia. 600 Images / 60 Artists / 6 Curators / 6 Cities, Women Imaging Women: Home, Body, Memory, Small Works by 56 Thai Artists, Silom Art Space, Bangkok / Berlin / London / Los Angeles / Manila Main Gallery, Cultural Center of the Philippines Bangkok,Thailand. / Saigon. (CCP), Manila, The Philippines. Through Her Eyes: An Exhibition by 6 Women Breast Stupa Cookery / Soi Project-Yokohama Alter Ego - Thai - EU Contemporary Art Project, Artists, Dialogue Gallery, Bangkok, Thailand. Triennale, Press Conference, Jim Thompson Art Gallery of the Faculty of Painting, Sculpture House, Bangkok, Thailand. and Graphic Arts, Silpakorn University, Bangkok, 1991 Art and Environment, The Gallery of the Faculty Soi Project / Yokohama Triennale 2005, Yokohama, Thailand. of Painting, Sculpture and Graphic Arts, Silpakorn Japan. Womanifesto 2, Saranrom Park, Bangkok, University, Bangkok, Thailand. Pic-Nic in the Room, Collaboration with Dutch Thailand. designers : Anthony, Kleinepier & TTTVO, Art-U Recent Works by Chatchai Puipia & Pinaree Festival der Geister / Asian Spirit and Ghost Sanpitak, The National Gallery, Chao Fa Rd., Room, Tokyo, Japan. Festival, Kunsthaus Tacheles, Berlin, Germany. Bangkok, Thailand. Breast Stupa Cookery / Pic-Nic in the Room, Jardin “Beyond the Future” The Third Asia-Pacific de Bagatelle,Kawazu / Urasenke Tea Ceremony / 1990 Triennial of Contemporary Art, Queensland Art Art-U Room, Tokyo, Japan. Artists for AIDS: Artists for People with AIDS, Gallery, Brisbane, Australia. Lumpini Park, Bangkok, Thailand. Breast Stupa Cookery / Lotus Arts de Vivre – WPO Offsite Event, Oriental Hotel, Bangkok, Thailand. 1998 1989 Bangkok Art Project 1998, Ratanakosin Island, Metro Mania: ARX 1989 Australia and Regions 2003 Bangkok, Thailand. Artists’ Exchange, PICA, Perth, Western Australia. Next Move – Contemporary Art from Thailand, Earl Lu Gallery, La Salle-Sia College of the Arts, 1997 1986 Singapore. Womanifesto, Baan Chao Phraya & Concrete Via Tsukuba (3), AXIS Gallery, Roppongi, Tokyo, House, Bangkok, Thailand. The Spirit of Asian Contemporary Art, University Japan Library Gallery, California State University, Glimpses into the Future: Art in Southeast Asia AWARDS Sacramento, CA. 1997, Museum of Contemporary Art, Tokyo, Hiroshima City Museum of Contemporary Art, 2007 2002 Japan. Silpatorn Awards 36 Ideas from Asia – Contemporary South-East Asian Art, Singapore Art Museum European 1996 Touring Exhibition. The Spiritual and the Social, Queensland Art Gallery, Brisbane, Australia. The 2nd Fukuoka Asian Art Triennale 2002, Fukuoka Asian Art Museum, Fukuoka, Japan. ACKNOWLEDGEMENT

THE ARTIST WOULD LIKE TO SPECIALLY THANK THE FOLLOWING PEOPLE FOR THEIR HELP.

TYLER ROLLINS NICHOLAS COHN MAURA REILLY GREGORY GALLIGAN JEFFREY CALMAN XU BING STUDIO JESSE COFFINO APISIT NONGBUA

PUBLISHED ON THE OCCASION OF THE EXHIBITION

QUIETLY FLOATING PINAREE SANPITAK MARCH 4 - APRIL 17, 2010

AT TYLER ROLLINS FINE ART 529 WEST 20 STREET, 10W NEW YORK, NY 10011 TEL. + 1 212 229 9100 FAX. +1 212 229 9104 [email protected] WWW.TRFINEART.COM

©2010 TYLER ROLLINS FINE ART, LTD.