These materials were actually pivotal for my creative works. They transitioned me from photography into making videos. It started from a short film about abandoned chairs, then ambient videos on a red sofa. When I got into COFA, broken TVs were used for a looped video assignment. And it concluded with video installation about torn mattresses.
No one would care how they got there or how they would end but they were so intriguing to me that I needed to exercise my imagination to tell their stories. Having explored them again reminded me how beauty could be discovered from discarded lives on the streets.
On another aspect, I was thinking of doing urban landscape comparison between my old photography and the latest visit. But there was no concrete plan for it and I enjoyed drifting in the streets and back lanes. However, I got a chance to do only one properly.
As soon as I got up on the train from Chiang Mai, my focus was almost immediately on the changing landscapes outside the window—from Ayutthaya Station right up Hua Lamphong Station. It was an enjoyable mixed bag of urban creep sceneries to see.
In Ayutthaya, there was a rhythm of rice fields and industrial estates emerging from the light of dawn. Then they started to work on the new Dark Red Line suburban commuter train in Rungsit. Don Muang was the mark that it had entered Bangkok with the old International Airport. Along the way, there was Bangkok’s Stonehenge, which became street artists’ heaven. It went through the train depot in Bang Sue, which would be the last clear horizon perspective from the train. Finally, while it was approaching the final destination in Hua Lamphong, Bangkok from the train view turned into dense communities.
By the time the train arrived Bangkok, the camera phone and the spare powerbank almost ran out of their power and I got very exhausted with the travelling and everything. But it was all really worth it.