The video, 2005/ The Installation, 2010 (Single channel video installation)

7 min, color, sound, resolution 720×576 pixel, 4:3, soundscapes by Jean Roche [FR]
Single channel, Screen size at least 3 x 4 meters made by reflective sheets pattern, dimension vary with each installation.

“The video “Dotscape” refers to a train journey made by the artist from Bangkok to Chiang Mai. Her anticipation of the enjoyment of the landscape was marred as she saw that all the windows in the train were covered with the matrix dots of advertising stickers. Will our future enjoyment persist in regarding everything through the grid of advertising?”

ผลงานชิ้นนี้เป็นมุมมองขณะที่ฉันอยู่ด้านในรถไฟระหว่างการเดินทางจากกรุงเทพมา เชียงใหม่ การเดินทางเพื่อชมทิวทัศน์ระหว่างเมืองครั้งนี้ ทำให้ฉันหงุดหงิดจากรอยสติ๊กเกอร์โฆษณาสินค้าที่ติดอยู่รอบๆรถไฟ มันทำให้ทิวทัศน์ระหว่างเมืองอันสวยงามของฉันเป็นลายจุดทั้งหมด ทำให้ฉันตั้งข้อสงสัยว่านี่คือการถูกจำกัดเสรีภาพ หรือนี่มันคือโอกาสของสุนทรียภาพแบบใหม่ของประเทศไทยในยุคพ่อค้ากันแน่ สื่อโฆษณาสามารถซื้อหรือเปลี่ยนความเพลิดเพลินในการชมทิวทัศน์ท้องถิ่นได้หรือ ฉันเอาภาพนิ่งเป็นพันๆรูปที่ฉันถ่ายระหว่างการเดินทางครั้งนี้มาต่อกันเป็น ภาพเคลื่อนไหว

Dr. Axel Feuss- from Return Ticket: Thailand-Germany’s catalog, 2010


“In Dotscape, Sutthirat Supaparinya transfigures the diary format: a mechanical buzz accompanies a non-linear series of softly pixilated tableaux. Gerhard Richter’s photo-referenced paintings come to mind. Shapes morph, pulsing with potential; patterns abstract the landscape with the subtlety of chain-link fencing; dots leap or fly. Was that a bird? But there is nothing luminous or even naturalistic about this world; modernity has altered ‘normal’ vision, the visual field reduced to graphic effects. ”

Written by Phillina Sun -from: Head or Tail from http://www.experimentalconversations.com/reviews/169/head-or-tail/
Review Posted: 08 Oct 08

“Annoyed by the interrupted view from the train window caused by advertising posters, Supapaprinya shows a sequence of blurred landscape images travelling from Bangkok to Chiang Mai, unravelling the threat to the natural landscape and daily life by commercial development in Thailand.”

24HR Art, Northern Territory Centre for Contemporary Art, Australia, 2009


“This work poses the question: Can advertising and capitalism buy our view of landscapes and change the environment? When the journey begins in Bangkok, you see how advertising changes the cityscape in general. And then when you focus in on the specific advertising matrix, it also changes your view out the window and the whole experience of the train ride. So how should we view this? Where is the critical shift in consciousness?
Then when the train pulls out of Bangkok, it leads you through forest areas, the countryside, and small villages — all the while still through the view of this obstructed window. The soundscape of the work is from a French artist who captured sounds from the forests of Southeast Asia, particularly Thailand and Malaysia. It doesn’t parallel the real sounds outside the train, but it makes sense to me in that it reflects how I dreamt about the forest while going on this journey.
This work has been shown as both a video and an installation piece. I would say that it is much better as an installation because the viewer has a more all-encompassing experience of the space. When you walk around, you experience the patterns and scenery in that moment in time from different angles depending on where you stand. When you are close to the screen, you only see the dots and not the overall image and it’s dizzying. When you step back, you can see the whole landscape more clearly and have a sense of groundedness in the image – each image is in order of what you would view on the train trip from Bangkok to Chiang Mai. However, in a sense, your perceptions and feelings continue shifting as you tag along on this journey of dynamically moving patterns through the landscape.”
Excerpt  from Sutthirat Supaparinya’s interview from New York Foundation for the Art Newsletter


“While Jung over-sharpened and opened the image, Sutthirat Supaparinya’s Dotscape (2010) obscured vision to call our attention to what and how we see. In this clever video shot on a train in Thailand, where the windows are covered with dot-printed advertising, looking is mediated by the visual noise of marketing, which creates its own pointillist landscape.”

Excerpt from FRIEZE magazine
Issue 147 May 2012
How Physical at Tokyo Metropolitan Museum of Photography
By Michael Famighetti

“Dotscape” has been shown in the following exhibitions and countries:

2012:
Yebisu International Festival for Arts and Alternative Visions, Tokyo Photographic Art Museum, Tokyo, Japan*catalog
2011:
Hypothetical, Medianoche, Park Avenue, Manhattan, New York City, USA (Solo Show)
Disc is Dead, Disco is Alive! (แผ่นดิสก์ตายเเล้ว เเต่ดิสโก้ยังอยู่!), WTF Café and Gallery, Bangkok, Thailand (Solo Show)
2010:
Return Ticket Thailand-Germany, BACC- Bangkok Art and Culture Center, Bangkok (Curated by Dr. Axel Feuss and organized by Goethe Institute Bangkok on the occasion of the 50th anniversary of Goethe Institute in Bangkok ) *catalog
2008:
Lifeboat #2551, Gallery 4A , Sydney Biennial Parallel Exhibitions, Sydney, Australia curated by Michael Shaowanasai

Selected Film screening:

2015
Asian Experimental Video, National Museum of Modern and Contemporary Art, Seoul, South Korea
2007
INTERCITY: URBAN ARTS FOR SOUTH EAST ASIA, Cambodia’s first Art & Communication Center META HOUSE, Phnom Penh, Cambodia
Video-Forum Revisited 2: Picture Perfect?, NBK, Berlin, Germany
Head Or Tail? : Contemporary Media and Video works from Thailand, Pallas Studio, Dublin, Ireland, 2007
2006
BEFF 4 at RADCAT- Roy and Edna Disney/ CalArts Theater, Los Angeles, California, USA
BEFF 4 at Walker Art Center, Minnesota, USA
BEFF 4 at C A M E R A / O B S C U R A, Sydney, Australia
Episode5, 12-Hour Performance, Sound and Video Festival, Singapore
2005
Bangkok Democrazy , Bangkok Experimental Film Festival (BEFF4), Bangkok