Past Solo Exhibition
AGAS Group Show: A World At Every Turn 14.01.2022 — 23.01.2022
Information
Event has ended
14 – 23 January 2022
About The Exhibition
STPI is pleased to present works by Pinaree Sanpitak in the AGAS Group Show: A World at Every Turn happening on Friday, 14 January. 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 World at Every Turn brings together a selection of artworks from participating members of the Art Galleries Association Singapore (AGAS). The exhibition’s title parallels the physical experience of encountering these artworks within the space, while espousing the notion of the ‘completeness’ of each work of art in representing the unique perspectives gleaned from being present in the world. With the exhibition, the association reiterates its commitment to championing the promotion of art appreciation in the community, while reflecting the solidarity of AGAS members that dedicate themselves to managing, representing, and presenting their artists to the public here and abroad.
About the artist
Pinaree Sanpitak
Residencies in 2018, 2025
Pinaree Sanpitak (1961, born and based in Bangkok, Thailand) creates works that explores how the human body, shaped by its lived experiences, sensuously inhabits physical and metaphorical spaces. Working across painting, printmaking, drawing, sculpture and collaborative culinary art, she is part of the generation of Thai contemporary artists that pioneered the use of mixed media multimedia and conceptual approaches in the 1980s and 1990s.
Influenced by her own journey of motherhood, Sanpitak is best known for abstracting the female form into elemental parts such as vessels, eggs and curvatures. The female breast, in particular, is a recurring motif. Coined as the ‘breast-stupa’, the form of the vessel and mound simultaneously resembles a Buddhist shrine and an alms bowl. This reorients the viewer’s perception of the female body through combining ideas of the sacred and the sexualised. In Noon-nom (2001–2002), an interactive installation with a title that means both “support” and “breast milk” in Thai, the artist invites viewers to rest within a sea of soft, flesh-toned breast-stupa sculptures. The work references Buddha’s ability to multiply himself a thousandfold, bringing together associations to the spiritual and bodily, the sensitive and playful.
Sanpitak obtained her BFA at the University of Tsukuba, Ibaraki in 1986. Her work can be found in major collections worldwide including the Los Angeles County Museum of Art,; Nasher Museum of Art, Durham; Toledo Museum of Art; Asian Art Museum, San Francisco; Queensland Art Gallery, Brisbane; Museum of Contemporary Art, Tokyo; Fukuoka Asian Art Museum; Singapore Art Museum; and the Ministry of Culture, Thailand.
Notable exhibitions include Ocean in Us (2024), Kaohsiung Museum of Fine Art, Kaohsiung; Connecting Bodies (2024), National Museum of Modern and Contemporary Art, Seoul; Wild (2024), Metropolitan Museum of Manila, Manila; New Large Scale Artworks (2023), Asian Art Museum, San Francisco; Collection 1: Vessels (2022), 21st Century Museum of Contemporary Art, Kanazawa; The House is Crumbling (2018), National Gallery Singapore; and Problem-Wisdom (2017), Queensland Art Gallery and Gallery of Modern Art, Brisbane. The artist has also participated in major international festivals including CHAOS : CALM (2022), 4th Bangkok Art Biennale; The Milk of Dreams (2022), 59th Venice Biennale, Venice; Restoration of the Sea (2019), 4th Setouchi Triennale, Honjima; JIWA (2017), 17th Jakarta Biennale; All Our Relations (2012): 18th Biennale of Sydney; So Close Yet So Far Away (2009), 2nd Incheon Women Artists’ Biennale; Expenditure (2008), 4th Busan Biennale; Art Circus (2005), 2nd Yokohama Triennale.
The artist has had two residencies at the STPI Workshop in 2018 and 2025; the former culminated in the exhibition Fragmented Bodies: The Personal and the Public (2019).
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