©2019 by wangnaproject. 


Udomsak Krisanamis

Fourteen, 2019

15 pieces of acrylic on paper

dimension variables 


Isara Winitchai connects Udomsak with the interior architectural structure of churches and cathedrals and he was reminded of the fourteen Stations of the Cross or the Way of the Cross, referring to a series of images depicting Jesus Christ on the day of his crucifixion and typically comes in the form of small plaques or paintings, placed around a church’s or cathedral’s nave. Udomsak works with found materials, creating the possibility of how we read and understand each object. The works share the visual perception, between the revealing and the attempt of concealment of its surface, unfolding the falling state and at the same time, the commencement and the fulfilling moment. Udomsak’s belief, faith and perceptual attachment reflecting his existence, living, death and time that continually moves. Udomsak’s works appear as a second layer of skin to the building that is constantly in flux reflecting a physical condition of which each person has shared experience.


Udomsak Krisanamis (b.1966) Udomsak’s practice has long been characterised by his specific use of collage, creating obsessive pattern made from newspaper, noodles, cellophane and paint. Over the past two decades Udomsak’s work has maintained a distinct formal and conceptual clarity, offering a unique experimentation with the well-worn territories of grid. While his paintings refuse to adhere to any particular context or obvious narrative, his imagery has undergone certain key transitions. Earlier paintings comprise of densely layered textured grids. Viewed in detail, these works shift between the worldly and otherworldly, the sublime and everyday. More recently, this intricate detail has been replaced by bold, reductive statements of monochrome colours such as hazard orange and fluorescent yellow, the surface of which is built up from wedges of found material embedded between layers of acrylic paint and paper.