Workshop
Regarded as one of the leading print workshops globally, STPI supports the work of artists through collaboration and experimentation.
A note from our Workshop
Workshop Director
Oh Thiam Guan
At STPI, we see ourselves as collaborators rather than traditional printmakers or papermakers. Our workshop operates like an open kitchen: we have our standard menu of techniques and equipment, but we are always ready to adapt and experiment. Whether a work on paper or something entirely unexpected, our focus is on problem-solving alongside the artists to bring their vision to life.
The workshop team is central to this collaboration. Each member has their own skills, personality and approach, making every project a unique negotiation between artist and workshop. Over two decades of collective experience allow us to meet the unexpected.
The workshop occupies generous floor space where traditional presses sit alongside modern machines like our CNC router, allowing multiple projects and experiments to happen simultaneously—an environment many artists describe as a laboratory. On-site apartments also allow artists to live and work with us, creating time and space away from daily routines. They are able to focus fully on their practice, often bringing new perspectives and inspirations directly into their work.
Ultimately, STPI’s workshop is a place where ideas, materials and techniques intersect, and where collaboration drives new possibilities. Every artwork we produce reflects shared explorations, a process that is as much about the journey as it is about the outcome.
Now in residence
Pinaree Sanpitak
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).
Past Residencies
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