Yuree kensaku biography of christopher
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For HT22 two large-scale murals on canvas from Kensaku’s immersive installation Atmosfear (2017) can be seen at the Honolulu Museum of Art. First presented at 100 Tonson Gallery in Bangkok in 2017, the project is inspired by the popular 1980s Japanese TV show Space Sheriff Gavan. In 2020, at the second Bangkok Art Biennale, she presented the painting Bleu Blanc Rouge (2020) and sculpture Broken Victoria (2020), both works that could be read as critical of Thailand’s monarchy and in support of protestors calling for revolution and political reform.
Viewers are caught in a riptide of bright colors and sinister figures, which ultimately makes one feel makuu—uncomfortable.
Solo Exhibition
2013
Karma Police, 100 Tonson Gallery, Bangkok
2011
Shortcut to Melancholy Hill at 100 Tonson Gallery, Bangkok
2009
Sweet with Mr.Fan at 100 Tonson Gallery, Bangkok
Mapping Asia "Young Asian Artist Solo Shows" at China World Trade Center, Beijing, China
2008
Same Place While the Clock's Hands Pace Episode : Old House at Ver Gallery, Bangkok
Bubble Tea at Soka Art Center, Taipei and Tainan, Taiwan
2007
The Adventure of Momotaro Girl at Yokohama Museum of Art, Yokohama, Japan
Love in Platinum Frame at The Art Center, Chulalongkorn University, Bangkok
2005
It's Spiritually Good!
At first glance her paintings are inviting, exuberant, and deceptively simple but bubbling beneath the surface is bold social commentary, personal introspection, and allegory. Avoiding a critical lens on these issues, Kensaku presents them spontaneously. Her compositions spew out in a stream-of-conscious-like sequence. In Land of the Mermaid, the second panel on exhibition, Kensaku portrays the mythical half-woman, half-fish creatures as happy and carefree.
The resulting mural is an eruption of anxiety, both personal and universal. Courtesy Galerie 75 Faubourg
Opening Party – MayThee Noijinda
Artworks – Aroon Permpoonsophon. One mermaid appears to be deep-fried like the shrimp tempura tangled in her hair. These recurring transformations reflect her ongoing exploration of impermanence and the mutable nature of identity.
Everything changes, nothing lasts,” she notes.
The exhibition title, Le Mont Never-Rest, blends the English words “Never” and “Ever” with the French “Le Mont,” offering both a linguistic play and an allusion to Mount Everest. In this context, the French mountains become symbolic terrain: vast, looming forms that echo the personal and physical obstacles she has navigated.
With her vibrant anime-inspired style, she examines how stories from history and popular culture both represent and stereotype women. The protagonist, an officer in the Galactic Union Police, is charged with the responsibility of protecting Earth from the invading Makuu Empire, an evil dimension created and ruled by its leader, Don Horror, who seeks total domination of the universe.
Within these new paintings, Kensaku depicts herself through a series of shifting avatars—a serpent entwined around Asclepius’ rod, a goldfish, a scorpion, a boxer, a bodybuilder. : Villager Voice at Pong Police Station, Daan Sai, Loei Province
Nearest Distance Exhibition at the Art Center of Srinakarinvirot University (Prasarnmitra) and the Faculty of Painting, Sculpture, Print Making, and Thai Art, Silpakorn University,Ta Pra Palace Campus, Bangkok
Pra Artit Festival at Baan Pra Artit (Coffee & More)
2000
41-08 Drawing Exhibition at Concrete House, Nontaburi
1999
41-08 Printing Exhibition at Pra Nakorn Gallery, Bangkok
In the panel Haphazard Animals, Kensaku depicts animals people are commonly afraid of in an innocuous and cute manner—sharks, jellyfish, snakes, large cats, and alligators play in a seaside landscape—while skulls, crossbones, and other symbols of danger remind viewers of their potential harm.
They live amid the pollution and detritus of cans, propane tanks, beer bottles, and plastic bags—presumably discarded by careless humans.
Courtesy Yuree Kensaku
Yuree Kensaku
hawai‘i triennial 2022
@ HONOLULU MUSEUM OF ART