Expressions of Emptiness in art and landscape design
By Ian Tee

This article is a part of CHECK-IN 2024, our annual publication, which comes in at 313 pages this year. You can buy a limited-edition print copy at SGD38 here.

Midpoint is a monthly series that invites established Southeast Asian contemporary artists to take stock of their career thus far, reflect upon generational shifts and consider the advantages and challenges of working in the present day. It is part of A&M Dialogues and builds upon the popular Fresh Faces series.

Sanitas Pradittasnee is Bangkok-based artist working seamlessly across landscape architecture and fine art. She is best known for creating spaces for meditative contemplation, often utilising natural materials and mirrors to show the changing environment. Sanitas completed a degree in landscape architecture from Chulalongkorn University in Bangkok and later earned a Masters of Fine Arts at Chelsea College of Art and Design in London. In 2010, she founded Sanitas Studio and continues to lead a team of architects on landscape and art projects.

Sanitas Pradittasnee, ‘Garden of Silence’, 2023, installation presented as part of Thailand Biennale, Chiang Rai ‘The Open World’, 2023. Image courtesy of the artist. — Sanitas Pradittasnee, ‘Garden of Silence’, 2023, installation presented as part of Thailand Biennale, Chiang Rai 2023: ‘The Open World’. Image courtesy of the artist.

I would like to start the interview by asking about ‘Garden of Silence’ (2023), a new piece you presented at the Thailand Biennale, Chiang Rai 2023. Set within a rubber plantation, ‘Garden of Silence’ consists of three installations made of steel, earth, and Thai mirrors. Could you talk about the process behind the conceptualisation and production of this work? What are your intentions for the work and how did you respond to the site?

We started by visiting Chiang Rai in March 2023 .The curatorial team wanted the artists to understand the site in all aspects. I was impressed by the concept behind the theme ‘Open World’. It came from a historic Buddha statue in the posture of opening the world at War Pa Sak in Chiang Saen, the old city north of Chiang Rai. The statue represents the moment when the Buddha ascended to Tavatimsa Heaven to preach to his mother and, upon his return, revealed the three realms simultaneously: the upper realm, the middle realm, and the lower realm. In this way, it demonstrated that all existence is impermanent, suffering, and nothingness. This inspired the idea of my work ‘Garden of Silence’.

The curator Angkrit Ajchariyasophon and I decided to situate a new installation at Cherntawan Meditation Center as it corresponded to the subject of my work about contemplative space. After I saw the images of the abandoned rubber plantation, I immediately selected the location. I wanted to create a space for people to have time with themselves, to slow down and be able to notice the changes of surrounding nature. The work is not only about the three sculptural installations. It is about the experience of the entire garden, which is open for people to explore and be with themselves and meditate. Most of the work was done onsite and used local materials to blend in seamlessly with the site.

“I wanted to create a space for people to have time with themselves, to slow down and be able to notice the changes of surrounding nature.”

Pages from Sanitas’s sketchbook. Image courtesy of the artist.

How do you anticipate ‘Garden of Silence’ to interact or change with the natural environment? And did these considerations inform your choice of materials, forms, construction etc?

I imagine that ‘Garden of Silence’ and its surroundings will change with time. At the beginning of December 2023, when we completed the installation, the garden was dark green because of the rainy season that just passed. The leaves turned red in late January 2024, and then to light green in early March. By reflecting the natural surroundings, the whole forest became part of the work.This is the reason why I used mirrors; it reduces the presence of material and reflects the changes in nature.

In ‘Garden of Silence’, there are three structures. One is made of steel, which will show the impermanence of the material through time. The exterior of the earth stupa was made of soil and dry leaves on the site, and looked like it had always been there. In contrast, its hollow internal space is cladded with Thai traditional mirrors. Lastly, the mirror stupa would reflect the changing environment.

Sanitas Pradittasnee, ‘Crafted Land’, 2014, aerial view. Installation commissioned for Patumwananurak Park in Bangkok. Image courtesy of the artist.

Sanitas Studio works in the contexts of fine art and landscape architecture. For readers who are unfamiliar, how would you describe the types of landscape architecture projects the studio has worked on?

For landscape architecture projects, I intend to select the projects that allow us to take an artistic approach. We have worked on residential and hospitality spaces, an urban plaza, and a forest park.

Has this crossover affected the reception to your work? What do you think practitioners in each field can learn from one another?

For me, it widens my perspective to work with large-scale projects and art installations. From my point of view, designers can learn to work more intuitively and sensitively. Artists can benefit from studying the architectural space and understand how their work interacts with its surroundings.

Sanitas Pradittasnee, ‘House of Silence’, 2023, mirror finish stainless steel, 3.2 x 3.2 x5.7m. Image courtesy of the artist.

Photo taken during Sanitas’ student days in Chelsea College of Art and Design in London, 2007. Image courtesy of the artist.

‘Crafted Land’ (2014) and ‘House of Silence’ (2023) are two works which straddles the lines of fine art and architecture. Both installations were commissioned for public parks in Bangkok. How do you approach such public art commissions? What insights did you gain about the ways the public interacts with these outdoor installations?

For ‘Crafted Land’, I was approached by the designer of the public parkto propose the permanent art installation as he was impressed by my previous work ‘Khao Mo 2013’. ‘House of Silence’ was curated by Angkrit for the ‘Unfolding Bangkok’ exhibition (2023) in Benjakitti Park.

The types of public interaction are diverse. Some people come to the park to exercise, while others come to relax. There are people who saw the installation by chance and were intrigued to go inside. But there were also some who tried to find it but could not. It might be because of how the mirror surface reflects the surrounding environment. Once, I encountered a gardener trying to explain the work to visitors. It was lovely to see that they feel the work belongs to the park.

Responding to your interest in large-scale projects, what are your thoughts about the life cycle of an artwork, especially those for temporary exhibitions? Are there sustainable strategies/approaches you adopt in the artwork design or re-purposing of materials?

I hardly throw away my work. I keep everything and reuse them. I also like when materials age and reveal traces of time and previous use.

Sanitas Pradittasnee, ‘Untitled’, 2007, video installation. Image courtesy of the artist.

Looking back, could you share a decision or event that marked a significant moment in your path as an artist?

Going to art school for my MA Fine Art at Chelsea College of Art and Design was a big turning point for me. It is like I discovered a new world of contemporary art.This allowed me to see things from another point of view, to think differently, to be more free and intuitive. It is like unfolding my self.

Sanitas Pradittasnee, ‘Form of Belief V (Impermanence)’, 2016, ice and paper dust, 30 x 30 x 41cm. Image courtesy of the artist.

Sanitas (second from right) and other artists and curators. Image courtesy of the artist. — Sanitas, second from right, with fellow artists and curators. Image courtesy of the artist.

When have been milestone achievements for you as an artist, and why have they been particularly memorable?

Recently, works from my ‘Form of Belief’ series were collected as part of acquisitions by the Office of Contemporary Art and Culture in 2023 to be part of the Thailand national collection. I did not imagine this, and I feel encouraged by the recognition.

Could you walk us through a typical work day, or a typical week? What routine do you follow to nourish yourself/your artistic practice?

I exercise in the morning, then walk to the studio, work with my team, have lunch at my favourite coffee shop, work more, then go home, relax, and meditate. I have an exercise routine to maintain a good balance. This time on my own helps me reflect, contemplate, and relax. Most importantly, I make time to go for meditation trips.

Could you describe your studio and team? How has it evolved over the years to become what it is today? What do you enjoy about it, and what do you wish to improve?

My studio and my team are versatile. We work on landscape design and art exhibitions of different scales. With a clear direction, we can be more focused. I enjoy teamwork, and we learn and support each other. I hope to improve our working hours. I wish we could go home to see the sunset more often.

What has become easier or more difficult to do as time has gone by?

As time has passed, I have become more certain with my subject and learnt to be honest with myself and my work.

Sanitas Pradittasnee, ‘Across the Universe’, 2018, acrylic, steel structure and mirror, 16 x 20 x 4m. Presented as part of Bangkok Art Biennale 2018, a site-specific work at Khao Mor, Wat Arun. Image courtesy of the artist.

What do you think has been/is your purpose? How has it kept you going? Has your purpose remained steadfast or evolved over the years?

My work is about creating a space for people to have time with themselves, to slow down and contemplate. I believe art has its own function. For me, art can make a better world.

I am so passionate about all aspects of art, and it gives me the best energy. That keeps me going.Yes, I think the core is the same and I have become more confident with what I am doing.

Sanitas Pradittasnee, ‘Primitive’, 2024, soil and Thai traditional mirror, 515 x 1,850 x 330cm. Exhibition view in ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, Bangkok. Image courtesy of the artist.

Sanitas Pradittasnee, ‘A Frog in the Mud’, 2024, Pa-ao lost wax casting brass, charcoal, charcoal pedestal, Thai traditional mirror, 600 x 740 x 330cm. Exhibition view in ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, Bangkok. Image co — Sanitas Pradittasnee, ‘A Frog in the Mud’, 2024, Ban Pa-Ao brass casting, charcoal, charcoal pedestal, Thai traditional mirror, 600 x 740
x 330cm. Exhibition view in ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, Bangkok. Image courtesy of the artist.

Recently, you opened a new solo exhibition ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, in Bangkok. Could you talk about the premise of the show and describe the artwork(s) on view?

In this exhibition, I wanted to convey the condition of emptiness, not the form. In order to feel the “Emptiness”, there are still traces of existence. I hope to let people experience it and spend time with themselves.

On the ground floor, visitors will encounter site-specific works that respond to the context of Art Centre, Silpakorn University. The inner room was filled with soil, as if it had been here from a time before the Art Centre was built, before Bangkok and humans existed. The long wall is adorned with pixelatedThai traditional mirrors. I titled the installation ‘Primitive’. At the same time, you can smell the decaying ashes. In another room, there is a small sculpture ‘A Frog in the Mud’ made of brass using a Ban Pa-Ao ancient lost wax casting method. The frog on the plinth looks like it is trying to hold on to something.

Walking up the staircase, audiences will see the painting ‘Impermanence’ made with ashes from Pa-Ao lost wax casting method, brass, charcoal, palo santo, soil and yang kra-tin, which gives off the scent of wood smoke. On the second floor, you will first experience ‘Silence’, composed of many handmade brass bells hung in the air to create the shape of a stupa. There are a few rooms on this level which provide different spaces for people to reflect and be in the present moment. In the exhibition, the senses of sight, smell and hearing are engaged, and requires experiencing in person.

“I wanted to convey the condition of emptiness, not the form. In order to feel the “Emptiness”, there are still traces of existence. I hope to let people experience it and spend time with themselves.”

Sanitas Pradittasnee, ‘Shadow of Emptiness’, 2024, Pa-ao lost wax casting brass, 255 (diameter) x 460cm. Exhibition view in ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, Bangkok. Image courtesy of the artist. — Sanitas Pradittasnee, ‘Shadow of Emptiness’, 2024, Ban Pa-Ao brass casting, 255 (diametre) x 460cm. Exhibition view in ‘Landscape of Emptiness’ at Art Centre, Silpakorn University, Bangkok. Image courtesy of the artist.

And finally, what would be a key piece of advice to young art practitioners? What has been your formula for success that they can learn from to apply to their own careers?

Be honest with yourself and your work, and be brave. I do not think I have a formula; only to focus on one thing at a time. I think each project could be my last project, so I give full energy to all of them.

This interview has been edited.

Sanitas Pradittasnee’s ‘Landscape of Emptiness’ is on view at the Art Centre, Silpakorn University (Wangthapra) in Bangkok from 22 March to 8 June 2024.

This article is a part of CHECK-IN 2024, our annual publication, which comes in at 313 pages this year. You can buy a limited-edition print copy at SGD38 here.

Access the full Midpoint series here.