The First Asia Pacific Triennial of Contemporary Art

River of the King: Water pollution project one (early concept) 1993 Canvas, pigment, aluminium cans, plastic, drainage piping Collection: Chulalongkorn University, Bangkok ., ._/ .) THAILAND KAMOL PHAOSAVASDI . '\ . ., -- -- Bottom . .,· : - i': • ~ ~~~~~J! :~ . . . \ I .... .. River of the King: Water pollution project one (initial sketch for proposal) 1993 -~- :.. ,; ... . RIVEH OF TPE ~NG Kamol Phaosavasdi was born in 1958 at Phitsanuloke, Thailand. After obtaining a degree at Chulalongkorn University, Bangkok, he attended the Otis/Parsons Art Institute in Los Angeles and graduated with a Master of Fine Arts. Kamol Phaosavasdi has held solo exhibitions since 1984 and aside from active participation in group shows in Thailand he was represented in the '2nd Asian Show', Fukuoka Art Museum, Japan, 1985; 'Contem– porary Asian Art Show', National Museum of Modern Art, Seoul, South Korea, 1986; '2nd Exhibition of Federation of Asian Art Association', Kuala Lumpur, Malaysia, 1989; 'Artists Regional Exchange 1992', Perth Institute of Contemporary Art, Perth, 1992; and 'Boundary Rider', 9th Biennale of Sydney, 1992. The artist represented Thailand at the 6th ASEAN Square Sculpture Symposium, Manila, the Philippines, 1989. He currently holds the position of art instructor, Faculty of Fine and Applied Arts, Chulalongkorn University, Bangkok. Kamol Phaosavasdi is among the well– known Thai artists who have worked exten- WATEll sively in assemblages and site-specific installations. His early large-scale pieces are concerned with the intertwining of physical and technical skills with imaginative skills. Many of his performances aim to criticise the role of art as a commodity. For the past few years Kamol Phaosavasdi has been concentrating on the theme of the self in relation to changes of environment. Earth has been used regularly in his work to signify a sense of place, location and recycling of life. Different specimens of soil refer to the Thais as agricultural people who have recently turned to associated industry and technology. The 'raping' and destruction of land by giant cranes and bulldozers in exchange for high-rise offices, shopping complexes, skyscrapers and condominiums have transformed Bangkok and many areas in the provinces into concrete labyrinths. For the artist, soil is as precious as jewellery. To create awareness of the de– terioration of life and nature due to air and water pollution he has created various ephemeral site-specific works. They range 48 from growing bean sprouts in a gallery; creating sculptures in the sea; placing soil in plastic bags with land contracts for sale; and filling exhibition spaces with salt, charcoal and warning lights. Water shortage, a recent crisis in Thailand, is causing political conflict among politicians, environmentalists and civilians. For instance, the building of dams and industries by rivers has caused protests because chemical waste and garbage have been the main causes of water pollution. Chao Phraya River (River of the King) which faces a condition of serious degradation is a good example of irrespon– sibility, ignorance, selfishness and greed. Industrial waste from manufacturing pro– cesses is poured into this river causing water contamination. Once a lifeline for inhabitants of Bangkok, presently the Chao Phraya River chokes with grime, toxic chemicals and ex– crement. Like a sick, elderly man it struggles to breathe to stay alive. The latest survey of 514 major canals in Bangkok shows that most of the canals are 'dead'; it confirms that these waterways no longer constitute a viable environment for sustaining life. In River of the King: Water pollution project one, Kamol Phaosavasdi focuses on the theme of water as an environmental problem. Small floating objects indicate a number of pollutants being dumped into the canals and the Chao Phraya River. Floating carved wooden boats contain cabbalistic writing (yantra) to protect them from dangers in the water. Apinan Poshyananda