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LET THE WIND SPEAK, LET WATER TURN TO GRAINS OF SAND, INTO GUSTS OF WIND… a title that calls for the tides of time to collect along the shores of some unfound place. A voice, a transformation, a sublimation. A message in a bottle drowning on the peak of a mountain.

Part sound, part machine, and part sculpture, the work is seamlessly acted-out through a triangulated pairing of the aural and visual. Ventrally equipped with sound exciters at its base, the plinthed copper sculpture warbles in a differentially generated loop of recorded sounds that never sound the same again. The recordings form a memory; their reverberation, pulsation, and transformation form a body.

Staring up from its foreign but all-too-familiar body blinking life through the flicker of its digital gaze, the accompanying monitor cryptically displays the literal logic of the patch through which the sounds are looped. The inner workings of a machine, the external readout (but also the inputs) of the sounds. An aura of the aural. A ghost fizzing inside plastic flesh. Or a text: a phase of the dialogue carried-out between the digital, the sonic, and the visual components of the work."

-exhibition text by curators Objet A.D.

“I love working with both the physical (material object) and the ephemeral (sound and sight as in projection) leading to the questioning of where the art object is, or perhaps what the Art itself is.

The sound fragments primarily consist of field recordings that I’ve gathered or found (mostly of wind and water droplets) which I then morphed/distorted through electronics into almost ghostly voices (Let the Wind Speak) again returning to the idea of how we name, bend and shape narratives around nature (or rather our perceptions of it) to create a kind of frame or form so that we can better ‘understand’ and comprehend it—a kind of double framing.

The piece also plays with the concept of cyclic time, the entire piece remaining ever transformative, ever in flux—a paradoxical breaking of archetypal myth-making while still caught within it—ouroboros again; an aural continuation of my exploration of strata, layered and excavated, while remaining always transitory.”

-Saun Santipreecha

SAUN SANTIPREECHA is a multidisciplinary artist from Thailand who works in both visual and sound/music art. His artistic route in both disciplines began simultaneously, studying privately with two Thai Silpathorn Award recipients for Thai contemporary artists, visual artist Chalermchai Kositpipat and classical pianist/composer Nat Yontararak amongst other tutors and mentors. In 2008 he moved to Los Angeles where he pursued a career working in music composition for film and collaborating with artists from multiple disciplines including fashion and video games while also creating solo music/sound projects including the recent Dandelye, before returning to visual art in 2022.

His compositional work in film, TV, and fashion has been screened in over thirty film festivals worldwide including the Cannes Film Festival as well as in New York, Paris and LA Fashion Weeks. He has also worked in numerous capacities in the music department for a number of composers including John Debney, Danny Elfman, The Newton Brothers and Abel Korzeniowski.

He is currently based in Los Angeles, CA.


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