CRACK reviewed in Art4D magazine

CRACK in FreeForm

Click on the image to enlarge.

See also http://picasaweb.google.com/mormor.forum/CRACK00SettingUp/photo#5056477410424136818

CRACK in Art4D Blog

See http://www.art4d.com/blog/?p=101

Pornprasert Yamazaki

Over years Pornprasert Yamazaki has worked on issues of Isaan rural life in the midst of globalised socio-economic forces. This was despite the fact that he is half Thai/Japanese. (He identifies himself as an Isaan Thai person, btw.)

For CRACK: the magic clay can do, Pornprasert put on an installation, comprising old used mortars acquired from Isaan people throughout the northeast of Thailand. We found this acquiring process very intriguing and imagine that some forms of documentation of this process could have been artistically interesting. At Baan Silom the mortars were painstakingly stacked to form a see-through cylinder-like structure, on old mattresses painted with images of American dollars. An old transister radio in the middle of this structure was turned on throughout the exhibition. By coincidence the channel this radio was set to seemed to play very dated Thai Luk-kroong (urban) music, which many found rather haunting.
We noted, however, that, for most viewers who are familiar with Thai contemporary art, this installation reminded them of many of Montien Boonma's installations, in which he contructed see-through cylindrical shapes by stacking objects of his choices. Whether or not Pornprasert intended to pay homage to the late Montien Boonma was questionable. Yet a strong historical reference was already there; and this, of course, influenced how Pornprasert's installation could be read.
To see more images of Pornprasert Yamazaki's installation, click here.

CRACK: the magic clay can do

Mor Mor Creative Forum proudly present
‘ Crack: the magic clay can do ’,
an exhibition by 11 artists who use clay.
Artists in ‘ Crack ’ includes Anuchai Sripoocharoentong, Be Takerng Pattanopas, Pornpraseart Yamazaki, Pim Sudhikam, Pitt Matrliam, Pratya Raktabutr, Nimmawadee Krainara, Pornphun Sutthiprapha, Emsophian Benjametha, Tikampon Engchuan, and guest artist Udom Udomsrianan.
‘Crack’ is on show at Baan Silom Gallery, Silom Soi 19, Bangkok
14-28 February 2007, 10.00-18.00.Opening Reception on Valentine's night Wednesday 14th February at 18.30 For more info, please call +66-8-6907-2121 or +66-8-1497-4991

email: mormor.forum@gmail.com
CRACK and Mor Mor are kindly supported by Art4D blog

Udom Udomsrianan

Udom Udomsrianan's CRACK, CRACK, CRACK was a large set of cute tiny low-level seats, made of wood and fired clay, each with counting marks (or a mark) on the top surface. After CRACK: the magic clay can do, these seats became parts of Udom's new collections under his own furniture brand Planet 2001. Viewers could associate themselves with numbers, according to their own experiences, or personal histories.














Since the beginning of the new millennium Udom Udomsrianan has become well-known worldwide for his furniture design branded Planet 2001, esp. the Threesome Noodles chair. Udom's works were included in many exhibitions all over America and Europe, including the prestigious Centre George Pompidou.

Initially trained in fine arts from Silpakorn University, Udom now works both as designer and artist, with his wonderful sense for forms. It should be mentioned that Udom's seats showed in CRACK: the magic clay can do were made, at the internationally infamous Tao-Hong-Tai pottery with endless generous support from its design director,Wasinburee Supanichvoaraparch.


To see more images of Udom's Crack, Crack, Crack, click here.

Emsophian Benjametha

Renaissance was the title of
Emsophina Benjametha's works in CRACK.

He saw clay (in other word, soil) as a medium of growth and decay.
As designer he constantly experimented with materials;
and so did he with this piece.
Paper pulp was added to Tao Hong Tai red clay, and the mixture was applied to a mesh+wood structure, resulting in a simple, yet sophisticated rectilinear wall piece, with holes and cracks in the 'right' places.

Controlling the uncontrollable?
Preserving the unpreservable?

Btw, the piece would have looked sooooo much better,
ahemmm... without the cute little plants and cute white little pebbles.
Well, just another personal opinion.

Emsophian Benjametha studied in Bangkok, later at Ecole des Beaux-Arts, Versailles, and got his Master Degree from Ecole Nation Superieue des Arts Decoratifs, Paris. Currently he works full-time as product designer for the furniture design firm, Planet 2001.
See also http://www.waterlilly.lv/rus/emsophian.html
For more images of his Renaissance, click here.