Art Basel in Basel 18.06.2026 — 21.06.2026

STPI is excited to debut Udomsak Krisanamis’ new body of work at Art Basel in Basel, which will anchor his institutional presentation at STPI in Singapore in 2027. The solo booth highlights Krisanamis’ reflections on the shared realities of contemporary existence, weaving fragments from popular culture. His bold abstractions, known for their dense layers, intricate textures, and optical effects, transform print and paper into kaleidoscopic worlds that challenge how images circulate in today’s information age.

Krisanamis’ latest body of work was made during STPI's renowned artist residency, in collaboration with their locally-based master printers. This experience allowed the artist to reimagine the mediums of print and paper, extending his broader exploration of mass media proliferation and sensory overload. Rooted in the modern age of consumption, his work draws inspiration from Pop Art pioneers including Andy Warhol, Roy Lichtenstein, and Yayoi Kusama, while interrogating the cultural legacies of print. Through collage, stamping, mobiles, and assemblages, Krisanamis disrupts the seamless reproduction of images in popular culture, placing his practice in critical dialogue with both abstract and representational art.

Krisanamis’ collage works, including Salsa (2026) and Mama Sita (2026), resemble maps and circuit boards that unfold as densely layered fields of information — where printed matter is overlaid with painterly grids of dots and gestural marks. The artist’s characteristic dots originated from redacting newspaper text, producing glitch-like constellations that speak to urban sensory overload.

In his stamped works, Krisanamis reinterprets Coca-Cola bottles and air mail labels, subverting the uniformity of mass-produced items with handcrafted irregularities. Works such as Baby, I Know (2026) and Move It Up (2026) recast these recognisable symbols into deliberate patterns, shifting their meaning from icon to element, while engaging with ideas of authorship and accumulation.

His mobile, Hang On To My Love (2026), suspends viewers in a cultural scrapyard of global transmission — from table tennis bats printed with Coca-Cola bottles to PVC boots and ceramic mugs. Engaging with found materials, the mobile appears as a cross-section of these global networks of transmission, suspending viewers within a moment of accumulated knowledge from the time of its making.

In the Thinking of Liszt series (2026), Krisanamis transforms Franz Liszt’s image — a celebrated 19th century Hungarian pianist and composer — into a consumable commodity, interrogating mass media’s role in shaping cultural reverence, especially through the lens of intense fandoms. Finally, works such as Almost Heaven (2026) and West Virginia (2026) juxtapose artisanal rattan trays — sourced during a serendipitous encounter with a rattan maker during his STPI residency — with Coca-Cola logos, blurring boundaries between craft and commercial production.

A playful yet pointed commentary on the modern condition, Krisanamis’ presentation turns the language of consumption into an experiment in visual experience — one that both mirrors and critiques the ways images circulate globally. Fair visitors will have the opportunity to preview select works from Krisanamis’ new project ahead of his major presentation at STPI in 2027.

Click here to view the press pack.

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