Pinaree Sanpitak

Quietly Floating

March 4, 2010 — April 17, 2010


ENLARGE

Brilliant Blue, 2008

acrylic on canvas

78 x 98 ½ in. (198 x 250 cm)

ENLARGE

Quietly Floating Quietly Funny, 2008

acrylic on canvas

78 x 98 ½ in. (198 x 250 cm)

ENLARGE

Cloud Garden, 2008

acrylic on canvas

78 x 98 ½ in. (198 x 250 cm)

ENLARGE

Cloud Track, 2008

acrylic on canvas

78 x 98 ½ in. (198 x 250 cm)

ENLARGE

Cloud Sprout, 2008

acrylic on linen

78 x 78 ½ in. (198 x 199 cm)

ENLARGE

Cloud Mist, 2008

acrylic on canvas

69 x 75 in. (175 x 190.5 cm)

ENLARGE

Vermillion Sky, 2008

acrylic on canvas

69 x 75 in. (175 x 190.5 cm)

ENLARGE

Dark and Sweet, 2008

acrylic on linen

78 x 78 in. (198 x 198 cm)

ENLARGE

The Mirror, 2009

aluminum and mirrored glass

37 ½ x 76 x 7 in. (95 x 193 x 18 cm)

ENLARGE

The Mirror, 2009

aluminum and mirrored glass

37 ½ x 76 x 7 in. (95 x 193 x 18 cm)

ENLARGE

Quietly Floating: Blue 3, 2009

acrylic on shikishi paper

9 ½ x 10 ¾ in. (24 x 27 cm)

ENLARGE

Quietly Floating: Vessel 3, 2009

acrylic on shikishi paper

9 ½ x 10 ¾ in. (24 x 27 cm)

ENLARGE

Quietly Floating: Blue 1, 2009

acrylic on shikishi paper

9 ½ x 10 ¾ in. (24 x 27 cm)

ENLARGE

Quietly Floating: Breast Clouds 9, 2009

acrylic on shikishi paper

9 ½ x 10 ¾ in. (24 x 27 cm)

ENLARGE

Installation View of "Quietly Floating" at Tyler Rollins Fine Art, March 4 - April 17, 2010

 

 

ENLARGE

Installation View of "Quietly Floating" at Tyler Rollins Fine Art, March 4 - April 17, 2010

 

 

ENLARGE

Installation View of "Quietly Floating" at Tyler Rollins Fine Art, March 4 - April 17, 2010

 

 

Works

INSTALLATION VIEWS

ABOUT THE EXHIBITION

Pinaree Sanpitak is one of the most compelling and respected Thai artists of her generation, and her work can be counted among the most powerful explorations of women’s experience in all of Southeast Asia. For well over twenty years, her primary inspiration has been the female body, distilled to its most basic forms and imbued with an ethereal spirituality. The quiet, Zen- like abstraction of her work owes something to her training in Japan and sets it somewhat apart from the colorful intensity of much Thai art. Her rigorous focus on the female form, explored through a variety of media – painting, drawing, sculpture, textiles, ceramics, performance, and culinary arts, to name but a few – has resulted in an astoundingly varied and innovative body of work. For many years, and certainly since the birth of her son in 1993, a central focus of her work has been the female breast, which she relates to imagery of the natural world and to the iconic forms of the Buddhist stupa (shrine) and offering bowl. Often called a feminist or Buddhist artist, she resists such easy categorizations, preferring to let her work speak to each viewer directly, to the heart and soul, with the most basic language of form, color, and texture. Her work is not lacking in a conceptual framework, but it is one informed primarily by a deeply felt spiritual sense rather than by rigid dogmas or ideological constructs.

Sanpitak’s work has been featured in numerous museum exhibitions in Asia and Europe during the past twenty years, and she has participated in major biennials in Australia, Italy, Japan, and Korea. But although her work is much admired by art specialists in the United States, there has until now been little opportunity for the public, especially in New York, to see her work first hand. So it is with great pleasure that Tyler Rollins Fine Art presents her first New York solo exhibition. Quietly Floating features a series of large, monochromatic paintings of breast and cloud forms. Some are done in a soft, metallic silver, with delicate, textured highlights, while others are infused with vibrant colors; each reflects the natural light of northern California, where the works were painted. These breast/cloud forms also appear in a remarkable group of intimate works on Japanese paper, and in an installation of large, aluminum mirrors, cast at her foundry on the outskirts of Bangkok. As the exhibition title suggests, the works convey a sense of tranquility and weightlessness that is at once otherworldly and profoundly natural. Through basic imagery of the female form, they convey a powerful sense of humanity, of the quiet truth of its physical and spiritual interconnectedness.

EXHIBITION REVIEWS

C-Arts, Pinaree Sanpitak, “Quietly Floating”

April, 2010


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GENERAL PRESS

Bangkok Post, The sex ceiling

September, 2015


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Prestige, Body Art

May, 2015


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Art Loft, Why Southeast Asian Art Now?

December, 2014


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The Blade, ‘Breast artist’ brings exhibit to the Toledo Museum of Art

November, 2014


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Sherman Contemporary Art Foundation, Collection+ Pinaree Sanpitak

September, 2014


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Artshub, The female breast inspires contemporary art

September, 2014


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The Straits Times, Art to smell and cuddle

August, 2014


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The Phnom Penh Post, An artistic tale of two cities

July, 2014


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The Wall Street Journal, Meet Thailand’s ‘Breast Artist’

January, 2014


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Singapore Art Museum – Sensorium 360°

2014


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Art Asia Pacific, Pinaree Sanpitak, Temporary Insanity

October, 2013


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Los Angeles Magazine, DO: ART: Look But Don’t Nap in These Hammocks

September, 2013


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Art Asia Pacific, Finding Balance: Interview with Pinaree Sanpitak

August, 2013


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Austin American-Statesman, Last week to catch ‘Temporary Insanity’

June, 2013


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Los Angeles County Museum of Art, Pinaree Sanpitak: Hanging by a Thread

June, 2013


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Austin Museum Of Art – Arthouse, Temporary Insanity, Pinaree Sanpitak

April, 2013


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The Huffington Post, 10 International Artists To Watch In 2013

January, 2013


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The Huffington Post, 2013 Art Preview: The 25 Most Anticipated Exhibitions Of The New Year

December, 2012


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The Sydney Morning Herald, Best-ever Biennale as record audiences engage with the unexpected

September, 2012


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Blouin Art Info, Sydney Biennale Highlights, From Interactive Architecture to Animated Aboriginal Paintings

July, 2012


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The Sydney Morning Herald, Titles will unlock Biennale’s beauty

June, 2012


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Moira Roth’s Gleanings, Gleanings #15: Pinaree Sanpitak

April, 2012


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18th Biennale of Sydney

February, 2012


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Modern and Contemporary Southeast Asian Art, Thai Artists, Resisting the Age of Spectacle

2012


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The Examiner San Francisco, Modern ‘Buddha Presence’ at Asian Art Museum

September, 2011


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Art Asia Pacific – Questionnaire, Pinaree Sanpitak

September, 2011


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Art Journal, Art without History? Southeast Asian Artists and Their Communities in the Face of Geography

July, 2011


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C-Arts, Negotiating Home, History and Nation: 2 Decades of SE Asian Contemporary Art

March, 2011


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Treasures (Asian Art Museum of San Francisco Magazine), Here/Not Here

January, 2011


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Roundabout exhibition catalogue

September, 2010


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Art in America, Bangkok Report

June, 2010


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Bangkok Post, Femininity on a Plate

March, 2009


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C-Arts, Pinaree Sanpitak: Art through the Breast

March, 2008


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Global Feminisms, Women Artists Then and Now: Painting, Sculpture, and the Image of the Self

2007


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Art Asia Pacific, Pinaree Sanpitak

January, 2006


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Temporary Insanity, Pinaree Sanpitak

2004


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Flavours – Thai Contemporary Art, Pinaree Sanpitak

2003


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Art Asia Pacific, Pinaree Sanpitak

June, 2002


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Artwise, Pinaree Sanpitak

2002


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Asian Art News – Thailand Feature, Making Offerings

November, 1999


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Art Asia Pacific, Body and Soul, Pinaree Sanpitak’s art of life

September, 1999


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Art in Southeast Asia 1997: Glimpses in the Future

1997


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Southeast Asian Art Today, Pinaree Sanpitak

1996


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