​​Taking place in a former SP/N architectural design studio, this distinctive site marks the point of departure for ‘Photograph : a body of images’, an exhibition that explores the possibilities of working with photography through its origins, processes, materials, and site-responsive presentations. In this exhibition, Atit composes and assembles works to create a spatial field of interwoven visual dimensions, where images are not only seen but experienced through layers of process and material encounter, both visible and integrated. His practice expands the boundaries of photography beyond its representational function, approaching the image as an active object, one that constructs, fabricates, and transforms our perceptions.

For the artist, the works in this exhibition are not presented as a series, but rather as individual pieces, each retaining its distinct character. Nonetheless, they are arranged under the overarching theme of perception, simulating the transition from natural landscapes to urban environments. The exhibition includes eight works, comprising both previously created and newly produced pieces specifically for this space.

Upon entering the exhibition, viewers first encounter Waterfall II (2023–24) and Rocks (2023–24), which depict nature entwined with sprays of water acting as magnifying lenses, revealing the pixel structure on the tablet screen. Both works demonstrate a fusion of technology and nature. Dominating the centre of the exhibition space is A Fence (2025), conceived to engage viewers through its play with distance and concealment from a photographic perspective. Here, the photographs are arranged and presented as a barrier, creating a dynamic interplay between image and object that engages the viewer playfully.

Atit’s photographic works often draw viewers into the ambiguous territories between reality and illusion. Moving deeper into the exhibition, one encounters A Pond (2024), a photograph of a forest pond bisected by a straight line, and Phra Nakhon (2024), an enlarged photograph installed above eye level that presents the city in an aerial view. Both works heighten perception, encouraging viewers to reconsider what they see and question which elements are natural and which are artificially constructed.

The artist’s perspectives prompt us to question the act of seeing, as exemplified by Zen Garden (2025) and Wave (2025), displayed in the innermost room, which heighten our awareness of space and time. Both works blur the boundary between reality and construction. The image features the very room in which the viewer stands, incorporating it into the artwork itself. In the image, the floor appears paved with stone, yet in reality the room beneath the viewer’s feet is empty—devoid of stones—as if the photograph and the physical space have merged into a single experience at the threshold of perception.

Atit guides viewers on a perceptual journey, gradually bridging the natural world with human-constructed environments. Cave (2025) depicts a cave entrance reflected onto contemporary construction materials. The artist envisions this as the final work viewers encounter upon leaving the building that once housed the SP/N architectural design studio.

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SP/N is a Bangkok-based architectural design studio engaged in research and practice across architecture, spatial design, and contemporary art. The studio explores the boundaries between built form and perception through spatial design experiments that investigate legibility, materiality, and social conditions. Alongside independent and collaborative art projects, SP/N has worked with 3deluxe (Germany) on cross-disciplinary design research and large-scale international projects, and has collaborated with artists such as Amanda Heng, Pratchaya Phinthong, Sathit Sattarasart, Tulapop Saenjaroen, and others.