‘In this life, our love is impossible.’ These lyrics from a song by Riam Daranoi, best represent the artist’s inner feelings, full of love, anger, longing and sarcastic sentiment. Through his previous series, Kata Sangkhae explored his feelings in different periods of his life, unsettled by both internal and external forces. The majority of his works focus on the surroundings, such as political, economic and social issues. By having himself portray the role of others in order to understand the problems and emotions that particular character had to face, he transcends his inner self and is able to perceive and convey those problems from the heart. One good example was when the artist played the role of Ned Kelly (We are Ned Kelly / Our Sunshine / 2018 / Gallery Ver), a real-life figure and renowned Australian bushranger of the 19th century. Ned Kelly was like those Thai outlaws of the past such as the famous Sua Fai and Sua Bai. They shared the same connection. All used to be honest and normal citizens but as a result of oppression from authority, were forced to go on the run and join a gang to fight injustice. Inspired by this historical event, the artist creates a comparison to our modern society where life and fundamental freedoms are constrained by those in power. If we try to act and feel like an outlaws who stand up against this oppression, we may be able to understand the position and stand firm against the social condition. Sangkhae’s enactment, which seems like a ceremonial transformation and exploration of his inner condition, appeared in another work from the same exhibition, (Assasini / Our Sunshine / 2018 / Gallery Ver). Here, he became an assassin, in order to understand the psychological state behind those that have to pull the trigger to fight injustice. Sangkhae’s works tend to present and involve complex patterns of abuse, the subtle violence concealed underneath what seems to be an act of love and caring, abuse that creates both physical and mental wounds. In ancient times, we fought with fists, swords, and even guns, causing injuries to the body of an opponent. Yet there was some mutual respect for each other’s tactics and honour. But now, in this capitalist dictatorship society, people harm each other with more complex weaponry and injuries happen at many layers of life, without honour or integrity. In Companion Hands-Happiness Mudra (2018 / Bangkok Art Biennale), Sangkhae ridiculed modern love, which is shallow and advantage seeking. Behind all the romance, sweet words and acts there is a hidden weapon that may not only cause physical injury but can damage a person mentally, crushing his or her feelings and purpose in life, creating self-doubt and distrust, and destroying a sense of freedom and generosity. He explored this issue through the sculptural forms of the artist’s hands and arms, shaping them into a heart shape, in reddish pink colours, symbolic of love in pop culture. He used a bullet crate as a platform, signifying a containment of hatred. The juxtaposition of the sculpture and its base was how the artist chose to question the love and well meaning that is set on a base of resentment. Having followed Sangkhae’s work and having had numerous conversations with him, makes me see this exhibition as a continuance of his interest in the violence people inflict on each other and the occurrence of conflict in all dimensions of life. The artist explores within, through his personal experience, while at the same time, outer influences from the political, economic and social situations in Thailand, which directly affect every individual, causes added frustration and pressure to build up within, bursting into another identity for the artist: “SK” Secret Killer. “SK” Secret Killer is a rapper. Hip-hop music originated from the social condition where people were physically and psychologically constrained, and lacked freedom of expression. These people searched for a public sphere to express their opinion, to protest and to request an answer from those in power. Its rhythm and beats become the heartbeat for rebels who fight injustice and ill treatment from the tyranny of authority. This exhibition is a journey within the artist’s mind and emotions with “SK” Secret Killer as a guide who sets the rhythm of the expedition. Feelings that have been through painful and stressful periods as a consequence of inner and outer elements find an outlet in the form of hip-hop music, which acts as a remedy and a guide toward self-understanding. The work is a collaboration project with a well-known rapper, Dajim Rap Thai, with sounds produced by Brandnewdon & norasarnti, and lyrics by “SK” Killer (a.k.a. Kata Sangkhae) Works in this exhibition consists of a heart-shape blown glass sculpture, a miniature heart anatomy toy (his son’s) in a bottle, a photograph of “SK” Secret Killer in the style of tableau vivant from the Death of Marat painting, self-portrait photography on objects, and a pattern of wires in the shape of texts from Guantanamo prisoner poems. All works are connected and share significant implications. The child’s heart anatomy toy, which can be pulled apart, given by a father to his son, becomes a model for the heart shaped sculpture of the father. Made from glass, the work is so fragile, easily broken apart if not handled carefully. Personally, I believe that this implies a complex relationship within a family, where both roles, father and son, and the works, act as a model for each other. A small pure heart acts as a model for the father’s fragile heart, representing the bond and love between the two. One is pure and innocent, the other is delicate and complex. In this work, both hearts become one, representing a relationship that is elegantly crafted and yet extremely fragile. Another small sculpture piece is a miniature heart in a bottle. Sangkhae made this piece as a tribute to his teacher, Charles Ray. The work acts as a communication piece between a teacher and a student, presenting a process of artistic development, using a small narrative to express a grand story. Sangkhae responds to the moral and mental state within through two self-portrait photographs. This is how many contemporary artists try to individually associate with historical contexts and grander ideals. Religious relics and symbols were used to represent greater meaning beyond the artist himself. Sometimes, those images are reminiscent of a fantasy or a play, where the artist poses and acts, as a way to draw a meaning from the role he portrays, combined with the artist’s personal story. In “SK” Secret Killer is Marat (Death of Marat), a hip-hop artist, portrayed by Kata Sangkhae, is posing and reenacting a scene from a famous painting, the Death of Marat, by Jacquces-Louis David. The piece is inspired by a real event during the French Revolution, when Jean-Paul Marat, a prominent figure during the revolution, was murdered in a bath tub by a woman named Chor Corday on September 13th, 1793. All works including sculptures, photography and poetry-patterned wires are interconnected and included within the lyrics of a hip-hop song composed by “SK” Secret killer. “Unloveable” exhibition presents an interrelationship between each object, entity and fragment, embodying the artist’s identity and his surroundings. They are the factors that made him the person he is, who always questions the implementation of power by authorities and institutions, from the basic family unit, to temples and religions, educational institutions, governments and the global state. Through various visual elements, viewers are invited to form their own opinion using sight, thought, all the while listening to the music that fills the air. [Introduction and exhibition article by Noraset Vaisayakul]