Sanitas Studio

KHAO MO in new context

Posted in 2014_"Khao Mo" in new context, Exhibition/ Artworks by traeht on June 2, 2014


In January 2014, KHAO MO (Mythical Escapism) has been relocated at Park @ Siam, the public park situates between Chulalongkorn University and Siam square in city center of Bangkok, Thailand. The artwork acts differently in different context and surrounding. The green surrounding and the interaction of people provoke the new experiences and appearance. Some times, it looks disappear and reappear again depending on the movement and gaze of the viewer. We are investigating the changing of it and how the artwork would develop in urban context.  The photograph and video will be continuously publish on the website: KHAOMO as part of the work.

Please feel free to visit and experience KHAO MO (Mythical Escapism).

Photograph by : Wison Tungthunya

All images are in courtesy of Sanitas Studio.




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Posted in 2013_"Khao Mo" (Mythical Escapism) by traeht on October 29, 2013

*Thank you to FRAME Megazine, Khao Mo was selected in Top 10 spatial installations!!





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KHAO MO, 2013


6.88 x 7.12 x 3.20 metres

Mirror boxes, Soil

City dwellers desire to have time off for rest and relaxation, a moment of escape from everyday life. This is different to the past. Nature has been replicated so that it can be closer to humans. The concept of Chinese gardens is to replicate the universe in the form of a garden in order to create joy and pleasantness. The large stones are clouds in the middle of the garden, as if they represent the paradise of that model garden.

Khao mo (“mo” comes from “t’mo” with roots in the Cambodian language) is a type of Thai art that originated in the Ayutthaya period. The concept behind khao mo is the replication of nature to make it closer to humans, and the belief in the relationship between the height of Sumeru, which is a physical aspect, and the desire to be free of suffering, or the state of contentment, which is an abstraction. The ideas merged and were demonstrated through “khao mo”, which is a symbol of paradise. It is used for enjoyment as well as for ceremonies, especially the royal tonsure shaving ceremony. Those who enter the ceremony, the location of which includes the model of Mount Kailash for bathing within the Grand Palace, must be princes or princesses of the Chao Fa class only.

The new “khao mo” is presented within the original physical framework, but the meaning has been reduced to the beliefs about “khao mo” that have altered as times have changed. Audiences are given time to interact with the work. They have the opportunity to explore and find the hidden treasures on the inside via experiences from symbolic objects. They can journey from the past to the present, from the exalted down to the public. The inside of “khao mo”, which is a sanctuary, actually transpires as emptiness. It is the starting point of not-having and having, which is essentially the root of all things.

The smell of earth, the moisture and vapour that evaporate from the earth, the ordinariness and the emptiness allow the audience time to imagine further. When there is no clarity between right and wrong in the present, the mountain of virtue has a different belief or meaning. Once upon a time, right and wrong had only one truth. What was once black and white is now grey. The world of today has advanced technologically and the changing society has led to more individuality, as well as more self-confidence. But what is the source of that confidence? Where are morality and ethics? What channels does self-confidence have to guide it?

This mountain of belief is like the construction of khao mo for the people (Mythical Escapism). The space is designated for the time of the individual. The opening of the space is dedicated to the reflection of one’s personal thoughts and identity via this space of imagination.

Photograph by : Wison Tungthunya



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Posted in 2013 "Equilibrium" at Sea Art Festival, Exhibition/ Artworks by traeht on October 28, 2013





” Equilibrium “

Size: 1.20 x 1.20 x 2.30 meters (17 pieces)

Material: Customized PVC Inflatable with the Pottery’s Glazing Screened, Filled with air

Artwork Statement

Songdo Beach, as the oldest public beach in South Korea, has gone through different stages of history from prosperous nature site, significant seaport, Japan occupation, Korean War until modernization.

In 1913, it was opened as a first public beach during Japan occupation. The place was allocated for leisure activity under Japanese rule. It gives the contrast feeling of suppress and freedom in the same time.

The idea of maintaining the Equilibrium helps the South Korean go through all difficult circumstances from the past to the present. In the past decades, the South Korean economy has grown significantly and was transformed into one of the major economy country. South Korean has experienced rise and fall situations.

“As if they fall, they will rise up again like a tumbler doll.”

The philosophy of Equilibrium (yin and yang) has been embedded in South Korea’s culture throughout the history.  The concept of yin and yang is all things in the universe that holds the two principles in

perfect balance.

In the proposal of Installation for Sea Art Festival, the Equilibrium concept was represented through the physical aspect of balance “the tumbler doll”.

The movement of the tumbler doll represent the dynamic balance and the joy of beach activity. In the same time, it reflects the story and historical layers of the place. The tumbler doll always bounces back to the

balance position whether it is shaking and tumbling by any forces.

The tumbler doll would be crafted in the form of Korean pottery with pottery’s glazing screened to represent another dimension of Equilibrium;  the co-exist of two principles in perfect balance.

The contrast of Pottery and Tumbler doll represents as

The Fragile / The Unbreakable

The Heritage / The Contemporary

The Past / The Present

Indoor / Outdoor

Suppress / Freedom

Heavy / Light

Static / Dynamic

At the first glance, the installation looks like a static monumental Korean pottery located on Songdo beach. Only when people walk closer and interact with it, they will be surprised by a dynamic and unbreakable

pottery. On the surface of selected potteries will reflect the contemporary city on the heritage pottery through the reflective mirror film finished.

The heritage pottery has developed along with Korean history and involved in every aspects of Korean culture, especially Busan, the main pottery production and trading seaport. One said “It is difficult to understand the Korean culture without understanding Korean Pottery.”

This installation also marks the history of migration in Busan through a group of potteries, standing on the

historical beach as to remember the story of people.









Date : 04 October – 24 November 2013
Location: Main Gallery, 8th floor
By BACC Exhibition Department, Bangkok Art and Culture

An Art Exhibition for Landscape of Rest

In the atmosphere of speeding for life, slowing oneself down or pausing almost counterbalances current stream of the world’s rapidness. The importance of rest is compromised for various needs, to construct a landscape of self existed in the world at large. While human responding rapidly to the external realm, it is evitable to overlook the internal where this landscape offering an alternative self: the outer landscape where human prompt to react crafts out meanings as in one’s eyes, though might not include the more critical landscape recorded through particular perceptions as in one’s head.

Landscape is the worldview that can be compared to witnessing the vast universe where internal and external space existing in parallel: to perceive both spaces requires just a little shifting. In astronomy, ‘parallax’ denotes the change in viewpoint in order to determine distance, perceive depth, and locate the position of things. Worldview that could be shifted is thus crucial here; it is to describe the meaning of rest that goes side by side with living. Shifting viewpoint from outward to inward conducting by the law of slowness and understanding, the parallactic travel which runs freely from a condition of time has paved way for an individual to find his own, to liberate, and to flee, to take a refuge, and to earn understanding in order to protect the fragile and essential sense of self from external threatening conditions.

Space, time, and belonging of self are the definition of ‘Resort’, which is a place that requires another type of travelling. It is the place where the narrations of life elaborated by the expansion of time; the foreignness discovered in the familiarity, the cordial relation between human and nature; the sharing of small realm in the great kingdom of void; the returning to home situating in ourselves; and the dwelling that is not an architecture of a house museum but the place where true living is to be found; all of these are parts of the stories depicting through artworks to broaden the definition of rest beyond physicality. While each of works communicates sentiments and reasons, at the same time providing a space, preparing time, lending the geography of thought, and hinting the landscape of rest awaiting for an individual to discover.

Curator : Pichaya Suphavanij
Artists :
Akiq AW
Jakrawal Nilthamrong
Jean Luc Vilmouth
Jean-David Caillouet
Karin Phisolyabut
Lim Kok Yoong
Michael Lee
Niti Wattuya
Orawan Arunrak
Preechaya Siripanich
Sanitas Pradittasnee
Santi Lawrachawee
Somboon Hormtientong
Suriya Umpansiriratana
Uten Mahamid
Wolfgang Bellwinkel

– See more at:

“Floating City” An Art Installation for Art Normal Exhibition, Ratchaburi, Thailand

Date of exhibition : From 17/12/2011 until 19/02/2012

Location : City centre, Ratchaburi Province, Thailand

We participate in Art Normal Exhibition, an Urban Art Installation Project in Ratchaburi province, Thailand.
“ART FOR ALL” is the main theme for the exhibition. The Injection of Art to the community is the intention, to juxtapose the un normal in normal community. It would be very interesting to see the dynamic and consequence after the exhibition since the grand opening is not the end of the works. It is a continuing process.


For our piece, we focus on the process of making and the process of decaying, the fragile of life living on upside down attitude. Drawing from the major flood in Thailand in 2011, our installation work, called “Floating City”, is representing and questioning our attitude toward the natural environments.



Looking from a distance, this floating object could look like an abandoned or damaged house from the flood. Then one gets closer to the house, one can experience the invert interior; the hanging table, chairs and other households. The juxtaposition between the normal surrounding and the abnormal interior creates the tension and puzzles. Through the window frame, one could see the upright surrounding clearer, while as the fluorescent color create only the silhouette of the interior’s outlines.


“ Floating City ”
(เมืองกลับทิศ ชีวิตกลับหัว)

2000 x 4000 x 3000 mm
Styrofoam, Timber structure, Plastic chair, Silicone, Paint
(โฟมยักษ์, เก้าอี้พลาสติก, ซิลิโคน, สีทาบ้าน, โครงสร้างไม้)

From the major flood event in Thailand in 2011, we all witnessed submerged cities, homelessness and how serious of the problem including with people’s attitude toward natural environment.
What if the floated part is sinking, while the submerged part becomes floating.
Or our way of living is upside down as well as the attitude towards the environment.
How should we rethink and adjust the attitude on our way of living and turn the upside down up again…

The Floating City is represented through the house, as the smallest unit of the city. The typical village house in Thailand was illustrate by a very simple Thai detail.
The materials were recycled from the rescued tools of flood victims; Styrofoam, which was used as a rescued boat, Plastic chair, which was used as floating toilet, Silicone, which was used to fill up the leaking holes of the house. All the material are assembled to be the “The Floating City”.

จากเหตูการณ์น้ำท่วมมหาวิปโยคในเมืองไทย ปี พ.ศ.2554 เราทุกคนได้ผ่านสถานการณ์ครึ่งจมครึ่งลอย การไร้ที่อยู่อาศัย และตระหนักถึงความยิ่งใหญ่ของปัญหา รวมทั้งทัศนคติของคนกับสิ่งแวดล้อมทางธรรมชาติ
ถ้าส่วนที่เคยจมน้ำกลายเป็นส่วนที่ลอยน้ำ ส่วนที่เคยลอยเหนือน้ำกลับจม
หรือเราเองที่ใช้ชีวิตกลับหัวกลับหาง ผิดที่ผิดทาง เสมือนวิธีคิดและการดำเนินชีวิตของเรากำลังจมอยู่ใต้น้ำ เราควรจะทำอย่างไรในการกลับวิธีคิด ปรับทัศนคติต่อเมือง ต่อการใช้ชีวิต

งานเมืองลอยน้ำ นำเสนอผ่านหน่วยย่อยท่ีสุดของเมืองคือบ้าน โดยจำลองแบบบ้านทั่วไปในเมืองไทย ที่มีลักษณะ หน้าตา และการใช้สอยง่ายๆ แบบไทยๆ
ส่วนวัสดุที่นำมาใช้ เป็นวัสดุจากการยังชีพของผู้ประสบภัยในช่วงน้ำท่วมในปีพ.ศ. 2554 ได้แก่ แผ่นโฟมยักษ์ที่ถูกนำมาใช้เป็นเรือ, เก้าอี้พลาสติกที่มีถูกปรับเป็นส้วมลอยน้ำ, ซิลิโคนที่ใช้อุดรอยรั่วของบ้าน มาประกอบเป็นตัวเมืองลอยน้ำ

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Project: Home and Belongings- Home is women

Posted in 2011_Home and Belongings, Exhibition/ Artworks by traeht on March 4, 2011

Date of Exhibition 8 March 2011 ~ 13th March 2011

Address of exhibition : 503-40  Gongreung 1Dong Nowon-Ku, Seoul, South Korea Zip :139-806


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Sense of home is not only sense of house. Homeless does not mean only people without shelters but the feeling of the unhomely, the uncanny and the unsustainable and broken utopian dreams. These conditions directly link to the mobility of labour and commodities, the flow of capital and the erasure of the specificity of place. This video work is questioning whether “Sense of home” got the Identity ? and explore the form of it. The scenes specifically focus on the traces of being, how the space has been occupied and has been used , which reflect the relationship between the dweller and a home.

The juxtaposition of a daily circle and a life time circle provokes the sense of belonging; the warmth from my grand mom funeral and the domestic household of grand mom’s house, reflected how she had lived her life.

The Mirror wall

Posted in 2010_The Mirror Wall, Exhibition/ Artworks by traeht on January 20, 2011

In the process of making “Mirror Wall”