KAWITA Vatanajyankur




The Spade, Video Still, 2020


Plough (Plow), Video Still, 2020



























Sickle, Video Still, 2020




2018 - 2019

This suite of videos is Vatanajyankur's physical manifestation of manual labour processes often undertaken by women in Thailand. These actions are presented through the double-lens of a hyper-coloured formal composition and a study into the physical abilities/vulnerabilities of the body, combining as works that provoke questions of labour, consumption, feminism and the artist's lived experience. 

This series is commissioned by the Dunedin Public Art Gallery, Dunedin, New Zealand. 





                                                 The Spinning Wheel, 2 Channel HD Video, 2018



                                                                                             Dye, HD Video, 2018











                                                                                                                       Shuttle, HD Video, 2018





                                                                                                                 Untangled, HD Video, 2018




                                                                                                                          Print, HD Video, 2018


Commissioned by The Peninsula Bangkok and The Bangkok Art Biennale 

                                                         Knit, Documentation of live performance, Ultra HD Video, 2019




2015 - 2017


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.



                                                                           The Scale, HD Video Still, 2015                                                                    














                                                                  The Scale of Justice, Video Still, 2016



                                                                                       The Lift, Video Still, 2015




                                                  Carrier I, Digital Print, 2017 (ACP Commission)


                                                                                                     The Carrying Pole, Video Still, 2015


                                                                                                                 Squeezers, Video Still, 2015


                                                                                                         The Ice Shaver, Video Still, 2013


                                                                                                                   Colander, Video Still, 2017


                                                                                                                The Scale 2,Video Still, 2015


                                                                                                              The Scale 3, Video Still, 2017


                                                                                                        The Egg Holder, Video Still, 2016




2012 - 2014                          

Kawita Vatanajyankur's performative video series Tools aims to reconstruct the elements of traditional seventeenth-century painting—often portraying a female figure, usually posed as a still object within a domestic work space. Vatanajyankur's work illustrates the relationship between the female body and domestic objects, which physically—sometimes violently—confront each other until the body succumbs and is pressured to work with the object; merge with it; become part of it; and eventually, is transformed into a sculptured domestic tool. The action and reaction of the body reflects the physical, psychological and cultural aspects of female endurance, physical resilience, strength and insecurity.                                                                                 

                                                                                 The Robes, Video Still, 2014

                                                                              The Dustpan, Video Still, 2014










                                                                                       Sponge, Video Still, 2020


                                                                                                              The Basket, Video Still, 2014

                                                                                                                     Poured, Video Still, 2013

                                                                                                                                                                                                                                                                                                                          Wet Rag, Video Still, 2012   


                                                                                                                    Soaked, Video Still, 2013



                                                                                                            Onto Fabrics2, Video Still, 2012






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, Digital Print, 2017



                                                      Big Fish in a Small Pond, Digital Print, 2017




Works created when Vatanajyankur was a student 

                                                                      Onto Fabrics1, video still, 2012

                  Onto Fabrics3, video still, 2012 


                                                                                                                                                                                                                                                                                              Box, video still, 2011



                                       Market Series, documentation of performance, 2011


                                                                                    Sand, video still, 2011