Reflections on Utopia: Sarawut Chutiwongpeti's Work in Perspective.
By Seth Thompson

Two years have passed, since Sarawut Chutiwongpeti's Utopia 1997 came
to my attention. At first, I was intrigued by the aesthetics of the
piece and did not realize the implicit foresight that the work would
have in the upcoming years. Due to a chain of events two years ago,
I had placed the article on the backburner.

Recently, Chutiwongpeti contacted me in regard to the status of the
article. This exchange began a dialogue with him that spurred me to
look once again at his work and to reexamine his ideas in a June 2002
timeframe. With such events as the September 11, 2001 terrorist
attacks on the United States' financial and political capitols;
inflated conflicts between Palestine and Israel; and now threats of
suicide bombers and anthrax have crept into the United States
landscape, I realize how Chutiwongpeti's work foreshadowed these
events.

The installation presents the viewer with ideas of more than just
gorgeous lights and lines within an environment. Pieces of broken
glass lay on the floor; dates of long ago events accompanied by
different geographical locales such as Iran and other texts are
scattered throughout the room; video monitors lay on the floor
presenting "man's" great accomplishments; and missile crater relics
are encapsulated in this environmental sculpture. Utopia 1997 is not
a depiction of Eden, but rather envelopes remnants of chaos and
danger of a society past. It is a cautionary sign to be wary amidst
superficial peace and beauty.

The piece reminds me of Thomas Cole's 1836 painting The Course of
Empire: Desolation which can be found at the New York Historical
Society. The final piece in a series of five, the painting
illustrates the aftermath of a society once great–destroyed by
warfare, overindulgence and greed. Nature is now overtaking the
architectural artifacts of the once great society–slowly returning
the urban landscape to its natural beauty. In Chutiwongpeti's
installation Utopia 1997, sounds of nature are all that remain except
for audio artifacts from the media that reminds the viewer of what
once was.

Chutiwongpeti writes,

"The contradictory side of utopia is full of pessimism. Man's quest
to conquer distant galaxies, endless search for territories and
colonies reflect this inner instinct for power, aggrandizement, and
control. The imbalance of power between those who control and those
under control has contributed to this order and dilemma.

In the era of confusion and distortion values of aesthetics and
common sense have been greatly transformed. At the end of the
century we are facing the crisis of world civilization."

It is my fear that Chitowngpeti is right–that we live in a world
that is becoming increasingly chaotic and inhumane. I ask myself,
"Why are we killing each other in the name of religion? Isn't
spirituality and religion's mission to provide us with a structure
for peaceful living?" The beautiful facade of Utopia 1997 is evident
at first glance but as we look closer we begin to see some possible
disturbing artifacts of our future's past.

Born in Thailand, Sarawut Chutiwongpeti is a young artist who has
already received international acclaim. He can be reached at
utopia1998@hotmail.com . His website is:
http://artists.banff.org/sarawut/









–
Seth Thompson
Wigged.net
seththompson@wigged.net
http://www.wigged.net

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Evolving Traditions: Artists Working in New Media
Video Documentary. 2002. (Color, 56:35)
Directed and produced by Seth Thompson.

Profiles four internationally recognized artists who have
incorporated current computer technology into their work to enhance
their artistic visions. Artists addressed are: Mark Amerika,
Tennessee Rice Dixon, Toni Dove, and Troika Ranch.

http://www.wigged.net/evolvingtraditions/
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