Artist's statement
Her work examines how different forms of life perceive and orient themselves within forces that exceed human perception.
Wantanee Siripattananuntakul is a Thai contemporary artist working across video, installation, sculpture, sound, and text. Her work has been grounded in political economy and the structures that organise social life, but has gradually moved toward a wider question: if many of the world’s current crises have been shaped by human-centred ways of ordering life, how else might one think and perceive? Rather than leaving politics, history, or ecology behind, her work approaches them through memory, displacement, animal presence, and the uneven environments in which power takes hold.
Her work examines how different forms of life perceive and orient themselves within forces that exceed human perception.
Wantanee Siripattananuntakul is a Thai contemporary artist working across video, installation, sculpture, sound, and text. Her work has been grounded in political economy and the structures that organise social life, but has gradually moved toward a wider question: if many of the world’s current crises have been shaped by human-centred ways of ordering life, how else might one think and perceive? Rather than leaving politics, history, or ecology behind, her work approaches them through memory, displacement, animal presence, and the uneven environments in which power takes hold.
Early works such as (Dis)continuity (2012), Living with Uncommon Value (2012), The Price of Inequality (2015), and The ‘End of History’ Will Not Come Tomorrow (2022) examined ideological and economic conditions that structure social life, tracing how value, power, and historical violence shape everyday life and collective experience.
Since 2013, her long-term work with her African Grey parrot, Beuys, has reshaped her practice. In her work, animals are not used as symbols for human ideas, but encountered as beings with their own presence and force. This has led her toward questions of interspecies attention, not as an escape from political and historical reality, but as another way of confronting it beyond a human-centred view.
Works such as Making Shadows Speak, Gilded Silence, and The Web of Time, presented in the solo exhibition Remnants of Fading Shadows (2025) at the Art Centre, Silpakorn University, brought earlier concerns with history, disappearance, and multispecies witnessing to a point of reflection. From there, her practice opens toward a different set of questions around force, movement, and perception, with Bodies of Force marking the beginning of that inquiry.
