Sanpitak injects Thailand's burgeoning contemporary art scene with a strong female presence.
[3] Her work is modelled after attending the University of Tsukuba in Japan and got inspired by the colourful intensity of traditional Thai art.
[5] Hanging by a Thread (2012),[6] consists of 18 hammocks, crafted from paa-lai, multicolored cotton textile that are also used for clothing, sheets, and items of ordinary life.
[6] She crafted pieces that seem to float in to space; it is suspended in the air, which offers a sense of safety but also serve as ghostly reminders of lost lives.
[6] Temporary Insanity (2003-2004),[8] a silk, synthetic fiber, battery, motor, propeller, sound device, dimensions variable.
This was Installed at the Austin's AMOA- Arthouse, which explored the liminal space between genders while navigating between the silks of Thailand and the sands of Texas.
This exhibition consists of 100 soft sculptures, and Sanpitak poetically muddles bodily forms and their associative functions.
Temporary Insanity recalls Buddhist practices by inviting viewers to stoop on the group, which invokes the conventional gesture of paying respect and offering prayer.
The work's title and form both evoke earliest instinct of nestling into the soft, fleshiness of the mother's chest in search of warmth and sustenance.
These soft sculptures covered in organza are part of Sanpitak's ongoing and extensive body of works across different media and genre incorporating the human corpus as a vessel and mound.
She questions the attitudes toward the female breast in significance as a natural form that symbolizes nourishment and comfort as well as portraying sensuous and spiritual feminine body.
Womanly Bodies consisted of 25 rhythmic sculptures standing 2-½ m tall, their stitched saa fiber material gives them a coarse texture and organic distortions in their repetitious stature.
Nasher Museum of Art, Durham, NC, USA.Bill and Melinda Gates Foundation, Seattle, WA, USA.
[14] Femininity on a Plate (Breast Stupa Cookery – 2005)[15] An adverse effect of Pinaree Sanpitak's signature work provokes hallucinating objects like boobs, whether fried eggs, bowls, lampshades etc.
"It’s my lifetime project," says the artist, who has collaborated with cooks and chefs from many countries to express the symbol of femininity on the plate.
[15] Sanpitak worked with professional and amateur chefs to create meals using specially designed breast stupa- shaped cooking molds made in glass aluminum and glazed stoneware.
The artist and her collaborator-chefs have hosted many of these events, presenting their five-course nourishing nipple- meals to audiences in Thailand, Japan, China, Spain, France, and the United States.
In August 2005, the first official Breast Stupa Cookery event took place at the Jim Thompson House, which involved four chefs in preparing a buffet banquet for 200 guests.