Kamolpan Chotvichai addresses issues of identity and gender in photo-based self-portraits. Challenging the formal limitations of paper and canvas, she meticulously hand-cuts images of her body, creating sinuous ribbons along various parts of her anatomy.
Based on an understanding of Buddhist teachings, Chotvichai obliterates her identity, eliminating her face and literally strips away her physical form, in the process relinquishing attachment to her body.
Her artistic process is composed of multiple steps. She begins by sketching each composition before translating her concepts and postures into photographs. Before printing and mounting the portraits, she distorts her image in an intentional manner. Wielding an ordinary utility knife, she carefully slices areas of the canvas into strips. Through this process, she transforms two-dimensional photographs into three-dimensional sculpture-like works..
In contrast to the often socially and politically charged contemporary art coming out of Southeast Asia, Kamolpan’s emotionally wrought black-and-white images are free of cultural iconography or social commentary. Her work is informed by her cultural heritage, not defined by it. Although her practice incorporates elements of Buddhist philosophy, her succinct visual language is entirely modern.