A dense intimacy
A dense intimacy

2019
Found hand-dyed photograph
8.58 x 13.67cm

A dense intimacy
A dense intimacy

2019
Installation view of exhibition with Lindy Lee at Bus Projects, Melbourne
Photo by Christo Crocker.

 Installation view. Photo by Christo Crocker.

Installation view.
Photo by Christo Crocker.

 Installation view. Photo by Christo Crocker.

Installation view.
Photo by Christo Crocker.

Noi
Noi

2019
Digital print on Canson Baryta, Swarovski Elements
40 x 60cm
Photo by Christo Crocker

  This photo I wish to give to you Noi/ to remind your eyes and your heart/ the symbol of me and my face./ When your heart is calling/ this photo is the witness./ With love from my true heart,/ Sompong/ 5 January 1971   2019  Digital print on Canson

This photo I wish to give to you Noi/ to remind your eyes and your heart/ the symbol of me and my face./ When your heart is calling/ this photo is the witness./ With love from my true heart,/ Sompong/ 5 January 1971
2019
Digital print on Canson Baryta, printed acrylic
50 x 60cm
Photo by Christo Crocker

Sompong II
Sompong II

2019
Digital print on Canson Baryta, Dichroic film.
37.5cm x 60cm
Photo by Christo Crocker

Sompong I
Sompong I

2019
Digital print on Canson Baryta, Dichroic film.
60 x 37.5cm
Photo by Christo Crocker

A Remembrance
A Remembrance

2019
Single-channel video, sound. 12:00
(Still)

A Remembrance

A Remembrance documents a trip taken with with my mother to her former home province of Pak Chong, Thailand. Over the course of a day we visited sites relevant to the life she led there with her first husband Sompong, a relationship cut tragically short by his murder in 1973. The film traces an attempt to contextualise this unknown chapter of my mother’s life in her own words; tacitly acknowledging that were it not for this tragedy then my mother wouldn’t have eventually met my father and started her new life in Australia.

The footage mostly comprises of a chronological account of our trip, including the dam where Sompong was murdered (which my mother hadn’t visited since he died), and the property they lived on together. Sompong’s relatives still live here, and while they are estranged from my mother through geographical distance and the passage of time, this footage offers a speculative glimpse of the life which she left behind.

A dense intimacy
A dense intimacy
 Installation view. Photo by Christo Crocker.
 Installation view. Photo by Christo Crocker.
Noi
  This photo I wish to give to you Noi/ to remind your eyes and your heart/ the symbol of me and my face./ When your heart is calling/ this photo is the witness./ With love from my true heart,/ Sompong/ 5 January 1971   2019  Digital print on Canson
Sompong II
Sompong I
A Remembrance
A Remembrance
A dense intimacy

2019
Found hand-dyed photograph
8.58 x 13.67cm

A dense intimacy

2019
Installation view of exhibition with Lindy Lee at Bus Projects, Melbourne
Photo by Christo Crocker.

Installation view.
Photo by Christo Crocker.

Installation view.
Photo by Christo Crocker.

Noi

2019
Digital print on Canson Baryta, Swarovski Elements
40 x 60cm
Photo by Christo Crocker

This photo I wish to give to you Noi/ to remind your eyes and your heart/ the symbol of me and my face./ When your heart is calling/ this photo is the witness./ With love from my true heart,/ Sompong/ 5 January 1971
2019
Digital print on Canson Baryta, printed acrylic
50 x 60cm
Photo by Christo Crocker

Sompong II

2019
Digital print on Canson Baryta, Dichroic film.
37.5cm x 60cm
Photo by Christo Crocker

Sompong I

2019
Digital print on Canson Baryta, Dichroic film.
60 x 37.5cm
Photo by Christo Crocker

A Remembrance

2019
Single-channel video, sound. 12:00
(Still)

A Remembrance

A Remembrance documents a trip taken with with my mother to her former home province of Pak Chong, Thailand. Over the course of a day we visited sites relevant to the life she led there with her first husband Sompong, a relationship cut tragically short by his murder in 1973. The film traces an attempt to contextualise this unknown chapter of my mother’s life in her own words; tacitly acknowledging that were it not for this tragedy then my mother wouldn’t have eventually met my father and started her new life in Australia.

The footage mostly comprises of a chronological account of our trip, including the dam where Sompong was murdered (which my mother hadn’t visited since he died), and the property they lived on together. Sompong’s relatives still live here, and while they are estranged from my mother through geographical distance and the passage of time, this footage offers a speculative glimpse of the life which she left behind.

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