Subconscious-cape
Curated by Pratchaya Pinthong
Gallery VER, Bangkok, TH
15 January – 14 February 2009

      
      Over the past few years, since he graduated from Silapakorn University, Noraset Vaisayakul has produced – one could almost say “handcrafted”, given the attention he has been paying to detail - a limited number of meaningful works which, although diverse in form, appear highly consistent. Interestingly, while definitely a conceptual artist, Noraset clearly derives pleasure from physically handling the materials he uses to create his art pieces.

       Although he has the skills to build  an art project, Noraset prefers natural settings, combining the four basic elements (earth, air/wind, water, fire) or highlighting one of them, and relying on the spectator to provide the "ki" or “chi” element (breath of life). Incidentally, here, in view of the proactive role he expects the public to play, instead of “spectator”, it might be more appropriate to speak of "spectaCtor".

       Now, what is it that prompts Noraset to re-construct the world, or, at least, the appearance of the world? Is his purpose to show a “better” version because he is dissatisfied with the existing one or is it the expression of a will to dominate and master it? Building upon Platonicism, Hinduism and Buddhism, this leads us to wonder what is THE reality and whether, half way in-between or beyond the one we see and the one we may conceive, there might be a third one, essential, that we cannot apprehend.

       At this juncture, it may be relevant to stress the predominance of the human factor in Noraset’s work despite the major role assigned to electronics. Indeed, it is the involvement of the viewer that makes it meaningful. Noraset is constantly playing with perceptions, interposing multiple layers or screens to distract (“dis-track”) the spectators.  Noraset’s work, with its multiple facets and possible readings, appears to reflect accurately his personality – rich, complex and paradoxical. The screens, traps and other deceiving devices may be there to protect himself from revealing too much. Yet, there is an evident wish to communicate (as in "Dialogue" or "Sorry", for instance) although, seldom or never, directly.

       When he shows his living space and invites people into it, Noraset accumulates signs of his presence but avoids being there... Is it because of his modest and reserved nature or because he has understood that the real power is elsewhere, backstage, behind the scene, behind the seen?

Cited from the exhibition catalogue,
by Jacques Carrio, Art Collector, and Former UN Head Officer,
Geneva, December 2008