CONTINUING PERFORMATIVE VIDEO SERIES
SERIES: TOOLS / WORK
Vatanajyankur’s exploration of everyday and domestic work is particularly telling of her Thai homeland. A place where, for many, daily chores aren’t always assisted by electronic contraptions or white goods but are time-consuming, physically exhausting, and often the task of women. The videos’ happy, day-glow colours, dark humour and undercurrents of violence, however, bring a universality and contemporary currency to the historical trajectory of feminist art. It is telling, for instance, that she describes her performances as “meditation postures”, when such gruelling tests of resilience and fear are quite the opposite of what we might think of now as zen. But, for Vatanajyankur, extreme physical endurance offers a way to free herself from her mind: a mechanism to lose her sense of being. This deliberate objectification, she says, turns her body into sculpture.
Carrier I (Australian Centre for Photography Commission), Video Still, 2017
Splashed is a new approach towards a different artistic practice as it rather focuses on commenting the modified lies, modification and manipulations behind consumerism. Packages of food are printed and painted with surrealistic happy characters and graphics, bright and colorful logos, as well as idealistic and perfect shapes and colors of meat covering the truth behind the untold, unreachable, unseen stories of exploitations, violence and disturbance.
Carrier II, Video Still, 2017
Big Fish in a Small Pond, Video Still, 2017
OLDER VIDEO WORK