Maitree Siriboon's latest series of work currently on exhibition at Whitespace Gallery was conceived during his art residency at Thaillywood in Chon Buri earlier this year.
Maitree Siriboon's 'Lotus Disco' exhibition.
In the "Lotus Disco" exhibition, "disco balls" spin in the shape of lotuses. The room is filled with smoke and light projections. Glass mosaic collages, inspired by the decorative glass on Thai temples, reference his past work. On one, buffaloes, snakes, scorpions and scores of other animals roam, as if fleeing to Noah's Ark. On another are different words — "Pattaya", "Bangkok" and names of stereotypical professions held by Isan natives.
On the glittering surface, narratives are woven. They are extravagant, mesmerising. The gallery is a makeshift nightclub. Maitree, 31, doesn't critique; he draws attention to stereotypes and issues.
Maitree has worked in various media forms. He photographed himself nude on an albino buffalo in a rice field. In a previous exhibition, "Isarn Boy Soi 4", he worked with British photographer Tim Brightmore to explore cultural identity in the social space of Silom Soi 4.
His works have always been unapologetically homoerotic. They are often superficially and immediately attractive, but deep within the sparkle or glossy coating is an examination of the self, of sexuality and of power and limitations.
Can you talk about your time at Thaillywood and your new work 'Lotus Disco'?
I think there is a lot for us as artists to see and learn in Chon Buri and downtown Pattaya. For a Thai artist, Bangkok and Chon Buri are not so different in terms of lifestyle, but somehow, beyond the city, we look more closely at our modern, complex lifestyles. The residency is based in Banglamung District, about 10km from touristy downtown Pattaya. Lotus Disco is a concept conceived from the metropolitan lifestyle of Bangkok. But in some ways, for me, the two cities are almost the same.
The opening of Lotus Disco features a performance, bringing in local Isan culture. How important is the performance aspect of your work?
Maitree Siriboon's 'Lotus Disco' exhibition.
There is a need to have a performance, especially for an opening reception. I can feel the energy when people get together. I think it is very important to create an opening reception as a place for people to meet, have conversations and exchange ideas. Some people think we can see an exhibition online. For me, the performance helps to send a stronger message to the audience. In over 10 years in the art world of Bangkok, openings have become more of a place to hang out than being focused around art. I think a strong performance leaves an impression when people leave the exhibition.
You mentioned frequenting Silom Soi 4 in a different interview. Can you talk about your experiences there and how it has influenced your work?
I'm an outgoing person, maybe less so now than many years ago. Silom Soi 4 is one of the places I go. I think artists should speak of subjects they are familiar with. Silom Soi 4 has greatly influenced my work over recent years. It is one of the places where the gay minority of Bangkok congregates. I accidentally walked into Soi 4 in 2001 and never get bored hanging out there. My experiences there differ night-by-night. I know the area pretty well. It is locally and internationally recognised as the oldest and best gay meeting place in Bangkok. I went there not as a regular tourist but as an artist, so the way I see things is different. Without music, the scene looks like the David Lynch film Twin Peaks. He is one of my favourite American directors. Silom Soi 4 is so weird and exciting. I would say there is something incredibly interesting about it but I wouldn't be able to describe it. Maybe my eyes are very much attracted to light or something sparkling. In the daytime, the reflection from the mosaics of temples makes me stop to look, but at night, the disco light is what I can find.
Do you feel a disparity as someone who goes there for entertainment as opposed to someone who works there? (Being from Isan is a large part of your identity but you are perhaps distinct from the stereotypical view of Isan boys there.)
Life is beautiful in its own way, and yes I can see the beauty and sadness in those young Isan men who work as bar boys in Soi 4. That is only my personal artistic angle. They are very happy to work there so we can't really say what sadness is when we view things from different angles. I have become good friends with a few bar owners and they treat their staff very well, maybe even better than some offices. There are lots of young native Isan working men but I can feel their energy, hopes and dreams. I think I'm in a different position. I feel sorry for the Isan minority in Bangkok with no education or university degree. Our country has such a rich culture but is so poor in terms of education. I came to Bangkok when I was 15-years-old, with no money. I got loans for my education. I'm lucky that my family let me continue my studies but many others end up working in factories. The level of education makes people treat each other poorly in this country and making sure young people get an education is still a problem. I don't feel sad for myself right now since I already passed that point a long time ago. I realise we all have to deal with our suffering in some way.
What was it like when you came to Bangkok to pursue a degree and career in art? Did you seek a metropolitan 'ideal'? What was that ideal?
The ideal of the Isan buffalo farm boy who came to Bangkok to get degree in art is still very important in my works. A degree somehow proves our skill to society but as a self-taught artist, a degree doesn't matter much. My identity is now about combining the Isan part of myself with my daily lifestyle. At this point, I can't ever see going back to live as a farmer. I don't remember how to grow rice and I'm much better at making art. You will see two kinds of works — a Bangkok identity in my photography works and an Isan identity in my mosaic work. It is hard to present myself as a contemporary artist to my village. It is also hard to be the original Isan buffalo boy when travelling internationally. I'm very much stuck between these two identities. It is confusing at times but art helps me to live my life in two contrasting parts of the world.
The Whitespace Gallery is on Sala Daeng Soi 1. The exhibition is on Wed-Sun, noon-6pm and Mon-Tue by appointment. It runs until Jan 18.
